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Thanks and Congratulates
ATHE Annual Awards Ceremony Thursday, August 1, 2013 – 5:00 PM – 6:00 PM Grand Cypress Ballroom DEF, Ballroom Level ATHE proudly salutes its nine award winners in this plenary, followed by the Keynote presentation . Vice President for Awards, Kevin Wetmore and his 2013 Awards Committee members will present the award recipients to the conference attendees . Ellen Stewart Career Achievement Subsequent plays include The House of Sleeping Beauties Award for Professional Theatre (adapted from a novel by Kawabata Yasunari), The Sound of a Voice (subsequently adapted into an opera with P David Henry Hwang is the 2013 recipient of the Ellen (L) Phillip Glass), Rich Relations, Face Value, Trying to Find (L) Stewart Career Achievement Award for Professional Chinatown, Golden Child and an adaptation of Peer Gynt, Theatre. among others. His play M. Butterfly premiered in 1988 at AY David Henry Hwang is an Obie-award winning playwright the Eugene O’Neill Theatre on Broadway, running for 777 Bill thanks Doan who is also the first Asian-American to win a Tony Award performances and winning the John Gassner Award, the for Best Play. Born in Los Angeles and Drama Desk Award, the Outer Critics Circle professor of theatre and associate dean educated at Stanford and Yale, Hwang Award, the Tony Award for Best Play and for administration, research & graduate studies studied playwriting under Sam Hwang’s second listing as a finalist Shepard and Maria Irene Fornes. for the Pulitzer Prize for Drama. FOB, his first professionally He has also written numerous produced play, premiered at books for musical and opera, the Stanford Asian American including a revised Flower Theatre Project in 1979 Drum Song, Tarzan, Aida president 2011–13 before being mounted and The Fly. -
Fluidity of Religious Identity in David Henry Hwang's
International Journal of Technical Research and Applications e-ISSN: 2320-8163, www.ijtra.com Volume 5, Issue 4, (July-August) 2017), PP. 36-42 FLUIDITY OF RELIGIOUS IDENTITY IN DAVID HENRY HWANG'S GOLDEN CHILD Rajiha Kamel Muthana (Ph.D) University of Baghdad/ College of Arts/ Department of English Language [email protected] Abstract— Religion plays a significant role in the lives of Both internal and external forces are at play in Hwang's human beings, yet, religious fluidity has its own consequences. Golden Child which depicts this change in religious identity, This paper aims at investigating the impact of religious fluidity as the protagonist Tieng-Bin converts from Confucianism to on the identity of an early twentieth-century Chinese family. Christianity. This change is triggered by Tieng-Bin's Golden Child illustrates how a devoted Confucian Chinese dissatisfaction in his religious beliefs and practices which is struggles to leave parts of his culture behind by converting to considered one of the strongest internal forces. Tieng-Bin's Christianity. Tieng-Bin's conversion brings good and bad consequences to his household. The story ends with the death of travel to the Philippines, his staying there for three years, the Tieng-Bin's two wives , on the one hand, and with rebirth of influence of the Western people he has met there, as well as Tieng-Bin's daughter, Ahn, on the other hand. the influence of Reverend Baines, the missionary, who pays many visits to Tieng-Bin's household are considered external Keywords— Religious Identity, Foot Binding, Christianity, forces. Baines' lectures are attended by Tieng-Bin's second Confucianism, Tieng-Bin. -
Animating Race the Production and Ascription of Asian-Ness in the Animation of Avatar: the Last Airbender and the Legend of Korra
Animating Race The Production and Ascription of Asian-ness in the Animation of Avatar: The Last Airbender and The Legend of Korra Francis M. Agnoli Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Art, Media and American Studies April 2020 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 2 Abstract How and by what means is race ascribed to an animated body? My thesis addresses this question by reconstructing the production narratives around the Nickelodeon television series Avatar: The Last Airbender (2005-08) and its sequel The Legend of Korra (2012-14). Through original and preexisting interviews, I determine how the ascription of race occurs at every stage of production. To do so, I triangulate theories related to race as a social construct, using a definition composed by sociologists Matthew Desmond and Mustafa Emirbayer; re-presentations of the body in animation, drawing upon art historian Nicholas Mirzoeff’s concept of the bodyscape; and the cinematic voice as described by film scholars Rick Altman, Mary Ann Doane, Michel Chion, and Gianluca Sergi. Even production processes not directly related to character design, animation, or performance contribute to the ascription of race. Therefore, this thesis also references writings on culture, such as those on cultural appropriation, cultural flow/traffic, and transculturation; fantasy, an impulse to break away from mimesis; and realist animation conventions, which relates to Paul Wells’ concept of hyper-realism. -
Spring Preview Spring World Premiere Previewchildren’S Or Teens’ Show SAN FRANCISCO
THEATRE BAY AREA 2016 spring preview spring World Premiere previewChildren’s or Teens’ Show SAN FRANCISCO 3Girls Theatre Company 3girlstheatre.org Thick House 1695 18th St. Z Below 470 Florida St. ` 2016 Salon Reading Series (By resident & associate playwrights) Thru 6/19 ` Low Hanging Fruit (By Robin Bradford) Z Below 7/8-30 ` 2016 New Works Festival Thick House David Naughton, Abby Haug & Lucas Coleman in 42nd Street Moon's production of 8/22-28 The Boys From Syracuse. Photo: David Allen 42nd Street Moon ` The Colored Museum American Conservatory Theater (By George C. Wolfe; dirs. Velina Brown, L. 42ndstreetmoon.org act-sf.org Peter Callender, Edris Cooper-Anifowoshe Geary Theater Eureka Theatre & Michael Gene Sullivan) 415 Geary St. 215 Jackson St. Thru 3/6 Strand Theater ` The Boys from Syracuse ` Antony and Cleopatra 1127 Market St. (By R. Rodgers, G. Abbott & L. Hart; dir. (By Shakespeare; dir. Jon Tracy) Greg MacKellan) 5/6-29 ` The Realistic Joneses 3/23-4/17 (By Will Eno; dir. Loretta Greco) Geary Theater ` The Most Happy Fella AlterTheater Ensemble 3/9-4/3 altertheater.org 4/27-5/15 ACT Costume Shop ` The Unfortunates (By Frank Loesser; dir. Cindy Goldfield) 1117 Market St. (By J. Beavers, K. Diaz, C. Hurt, I. Merrigan African-American Shakespeare & R.; dir. Shana Cooper) ` Vi [working title] Strand Theater Company (By Michelle Carter) Thru 4/10 african-americanshakes.org 6/2-19 Buriel Clay Theater 762 Fulton St. All information listed comes directly from publicity information supplied to Theatre Bay Area by the producing companies. Please contact companies or venues directly with questions. -
Transnational Legitimization of an Actor: the Life and Career of Soon-Tek Oh1
Transnational Legitimization of an Actor: The Life and Career of Soon-Tek Oh1 ESTHER KIM LEE He is the voice of the father in the Disney animation film Mulan (1998). He is Sensei in the Hollywood hit film Beverly Hills Ninja (1997). He is Lieutenant Hip in the 007 film The Man with the Golden Gun (1974). These examples may trigger memories of Soon-Tek Oh in the minds of many Americans.2 Some would vaguely remember him as the “oriental” actor whose face often gets confused with those of other Asian and Asian American actors, such as Mako and James Hong. Theatre aficionados may remember him for his award-winning role in Stephen Sondheim’s musical Pacific Overtures in the 1970s, but more Americans will know him as the quintessential “oriental” man in Hollywood. This is not the legacy Soon-Tek Oh wanted. He would prefer to be remembered as an artist, an actor who played Hamlet, Romeo, and Osvald Alving; who founded theatre companies; who promoted cultural awareness for Korean Americans; and who taught youths with all of his integ- rity. He wanted to be a “great actor,” who transcended all markings, especially racial ones, and who was recognized for his talent as an artist. He has sought what I describe in this essay as “legitimization” as a respected actor at every crucial point in his life.3 Soon-Tek Oh was the first Korean actor to appear in American mainstream theatre, film, or television.4 He left Korea for Hollywood in 1959 as a young man, seeking to learn the craft of filmmaking. -
Metadrama and the Deconstruction of Stereotypes: David Henry Hwang's M. Butterfly and Bondage Haris Abdulwahab Fayez Noureldin
Metadrama and the Deconstruction of Stereotypes: David Henry Hwang's M. Butterfly and Bondage Haris Abdulwahab Fayez Noureldin* Song: I'm an artist, Rene. You were my greatest . acting challenge. (She laughs.) (M. Butterfly 63)1 Song: But no. Men. You're like the rest of them. It's all in the way we dress, and make up our faces and bat our eyelashes. You really have so little imagination! (M. Butterfly 90) Representations of Asians in America have always been influenced by biased stereotypical images. According to James S. Moy, "Anglo-American playwrights have portrayed the Chinese in America as collections of fetishized parts and as exotics" (48). Though there were other attempts seemingly providing positive images of the East as 'wise' in contrast with the West as 'corrupt', these attempts -Eugene O'Neill's Marco Millions is a striking example- could do little more than present the East as 'exotic' and 'heathen'. With the rise of Asian-American studies in the 1960s, there appeared Asian writers, Chinese and Japanese, whose end goal was to dispel such stereotypes and present instead conscious self-representation. Notable among these is the Chinese-American playwright, David Henry Hwang (1957-), whose plays provide insightful explorations of how it feels to be Chinese or Asian in a racist society. Regarded as "the most renowned Asian-American dramatist of the twentieth century" (Trudeau 199), Hwang distinguishes himself as a dramatist by blending Eastern and Western subjects and theatrical styles. The theme of the fluidity of identity is recurrent in almost all his plays. Hwang posits the changeability of a person's identity according to the various contacts s/he experiences. -
The Pleasure of His Company
Welcome UPCOMING Dear Friends, Welcome to Summer Season 2008! And as the saying 2008 Summer goes, “pardon our dust”! As you’ve no doubt noticed, SHAKESPEARE we’ve begun construction of the Globe’s beautiful new FESTIVAL campus, including a new arena theatre, education center, June 14 - September 28, 2008 and re-designed plaza. We’ve even created a temporary pub Lowell Davies Festival Theatre across the plaza so we can continue serving our patrons while building continues. We’ve been telling you about this ROMEO AND JULIET facilities project over the past few months and we’re thrilled THE MERRY WIVES OF WINDSOR that it is now becoming a reality. We have exciting plans ALL’S WELL THAT ENDS WELL for theatre and education programs in the new center, and we thank you for being a part of the excitement during the construction period. I promise it will be worth any inconvenience. ❖ ❖ ❖ Summer is a time for pleasure, and Resident Artistic Director Darko Tresnjak has chosen the perfect summer fare in The Pleasure of His Company. We’re delighted to welcome back Patrick Page, the Globe’s 2008 Shiley Artist-in-Residence, who was last seen here in the spring’s SIGHT UNSEEN smash hit Dancing in the Dark. Just steps away, Donald Margulies’ Sight Unseen plays in the August 2 - September 7, 2008 Globe’s Arena Stage at the San Diego Museum of Art’s James S. Copley Auditorium (a tem- The Old Globe Arena Stage at James S. Copley Auditorium porary space specially built for our intimate productions). -
By Kimber Lee
51st Season • 488th Production JULIANNE ARGYROS STAGE / MARCH 8-29, 2015 Marc Masterson Paula Tomei ARTISTIC DIRECTOR MANAGING DIRECTOR David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS presents the world premiere of tokyo fish story by Kimber Lee Neil Patel Christina Haatainen-Jones Elizabeth Harper John Zalewski SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN Jason H. Thompson Jerry Patch Joshua Marchesi Jennifer Ellen Butler PROJECTION DESIGN DRAMATURG PRODUCTION MANAGER STAGE MANAGER Directed by Bart DeLorenzo Bill and Carolyn Klein Samuel and Tammy Tang Honorary Producers Developed at The Lark Play Development Center, New York City tokyo fish story • South CoaSt RepeRtoRy • P1 CAST OF CHARACTERS (In order of appearance) Koji ............................................................................................ Sab Shimono Takashi .............................................................................................. Ryun Yu Nobu ........................................................................................ Lawrence Kao Tuna Dealer Apprentice/Oishi/Toru/Daisuke/Yuji/Hirayama ..... Eddie Mui Ama Miyuk/Woman .......................................................................... Jully Lee SETTING Present day Tokyo, Japan. LENGTH Approximately 90 minutes with no intermission. PRODUCTION STAFF Casting ..................................................................................... Joanne DeNaut, CSA Production Assistant ........................................................................... -
ATHE 2013 (L)AY Pperformance, Pleasure and Pedagogy August 1-4, 2013 Hyatt Regency Grand Cypress Hotel
ATHE 2013 PPerformance,(L Pleasure)A and PedagogyY August 1-4, 2013 Hyatt Regency Grand Cypress Hotel Orlando, Florida Table of Contents Welcome Letters . 4, 5 ATHE Mission and Goals . 6 ATHE Governing Council 2012-2013 . 6 ATHE Focus Group Representatives and Conference Planners . 6 2013 Conference Committee . 7 P ATHE Leadership Institute ® Pre-Conference Workshop . 8 (L) First-time Attendees . 10 AY Keynote Presentation . 11 Opening Reception . 11 2014 Conference and Committee . 12 ATHE Annual Membership Meeting . 13 ATHE Annual Awards Ceremony . 15 3 | All-Conference PLAYnaries . 24 ATHE 2013 ATHE Exhibit Hall Information . 25 Performances . 26 | PLAYDates . 28 August 1–4, 2013 1–4, August Paid Workshops . 31 ATHE Focus Group Debut Panels . 33 Advertiser and Exhibitor Index . 35 Exhibit Hall and Hotel Floorplans . 37, 38 All-Conference Programming Schedule . 40 Concurrent Sessions . 52 Speaker Index . 122 Notes . 126 Welcome from Bill Doan, President Welcome from Chase Bringardner, Our commitment to gather data about Vice President for 2013 Conference the field in order to make informed ATHE has often functioned in a similar manner for many of us, beckoning us to cities far and wide with the promise decisions, implement strategic of interactions with colleagues and friends and the initiatives, and influence our collective opportunity to acquire and share information about the larger fields of theatre and performance . ATHE presents futures promises to keep the needs us with the opportunity to play together, to consider the of ATHE members at the heart of our past, contemplate the present, and discuss and dream the association . I want to futures of our field . -
Annotated Catalog to Productions and Scripts in the Asian American Theater Company Archives
http://oac.cdlib.org/findaid/ark:/13030/ft096n9854 No online items Guide to the Annotated Catalog to Productions and Scripts in the Asian American Theater Company Archives Project archivist: Salvador Güereña; principal processors: Cindy Kee; machine-readable finding aid created by Xiuzhi Zhou Department of Special Collections Davidson Library University of California, Santa Barbara Santa Barbara, CA 93106 Phone: (805) 893-3062 Fax: (805) 893-5749 Email: [email protected] URL: http://www.library.ucsb.edu/speccoll/speccoll.html © 1999 The Regents of the University of California. All rights reserved. 1 Guide to the Annotated Catalog to Productions and Scripts in the Asian American Theater Company Archives California Ethnic and Multicultural Archives Donald C. Davidson Library Department of Special Collections University of California, Santa Barbara Contact Information: Department of Special Collections Davidson Library University of California, Santa Barbara Santa Barbara, CA 93106 Phone: (805) 893-3062 Fax: (805) 893-5749 Email: [email protected] URL: http://www.library.ucsb.edu/speccoll/speccoll.html Project Archivist: Salvador Güereña Principal Processor: Cindy Kee Cover Photo: Dan Kuramoto and Philip Kan Gotanda in the play In the Dominion of Night from the Asian American Theater Company Archives Date Completed: July 1997 Encoded by: Xiuzhi Zhou © 1999 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Annotated Catalog to Productions and Scripts in the Asian American Theater Company Archives Creator: Asian American Theater Company Repository: University of California, Santa Barbara. Library. California Ethnic and Multicultural Archives Santa Barbara, CA 93106 Shelf location: For current information on the location of these materials, please consult the library's online catalog. -
East West Players, Inc. Records PASC.0115
http://oac.cdlib.org/findaid/ark:/13030/tf1489n74f No online items Finding Aid for the East West Players, Inc. Records PASC.0115 Processed by UCLA Library Special Collections staff; machine-readable finding aid created by D.MacGill UCLA Library Special Collections Online finding aid last updated on 2020 October 23. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the East West PASC.0115 1 Players, Inc. Records PASC.0115 Contributing Institution: UCLA Library Special Collections Title: East West Players, Inc. records Creator: East West Players (Los Angeles, Calif.) Identifier/Call Number: PASC.0115 Physical Description: 60.9 Linear Feet(113 boxes and 11 flat boxes) Date (inclusive): 1965-1992 Abstract: As the first Asian American theater founded in 1965, East West Players and its history provide valuable account of Asian Pacific American experience. The collection spans 1965 to 1992 and includes administrative files, financial records, and production related files consisting of scripts, photographic material, programs, publicity, sound recordings and videos. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: Materials are in English. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Physical Characteristics and Technical Requirements CONTAINS AUDIOVISUAL MATERIALS: This collection contains both processed and unprocessed audiovisual materials. Audiovisual materials are not currently available for access, unless otherwise noted in a Physical Characteristics and Technical Requirements note at the series and file levels. -
Contemporary Asian American Drama Esther Kim Lee
2 3 Contemporary Asian American Drama Esther Kim Lee Introduction: The First Wave In 1968, the East West Players in Los Angeles held its fi rst playwriting competi- tion to encourage Asian Americans to write for theater. Founded in 1965, the East West Players originally aimed to promote the careers of Asian American actors, but it became clear that without original plays by and about Asian Americans the company would not last.1 In the 1960s, playwriting was not per- ceived as a possible profession for Asian American writers, and Asian American plays were virtually nonexistent. Plays, by defi nition, need to be produced and staged, and playwrights must work within an infrastructure and industry of theater. The East West Players’ playwriting competition lasted three years during which playwrights such as Momoko Iko and Frank Chin made their debut in theater. In 1973, Frank Chin led the founding of the Asian American Theatre Workshop (later renamed Asian American Theatre Company) in San Francisco with the explicit agenda to create and produce Asian American plays. Although Chin left the company in a few years, his infl uence as a play- wright has been lasting in Asian American theater. His two published plays, Chickencoop Chinaman (1972) and The Year of the Dragon (1974), are considered foundational in Asian American drama, and the Asian American Theatre Company has continued to support new Asian American playwrights. 2 Frank Chin belongs to the fi rst wave Asian American playwrights who pio- neered Asian American drama. Also in the fi rst wave are Jon Shirota, Momoko Iko, Dom Magwili, Wakako Yamauchi, Karen Tei Yamashita, Perry Miyake, Bill Shinkai, Paul Stephen Lim, Jeff ery Paul Chan, Garrett Hongo, and Edward Sakamoto.