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Performed Otherwise: The Political and Social Possibilities of Asian/American Performance

Published online by Cambridge University Press:  03 January 2013

Joshua Takano Chambers-Letson  and
Elizabeth W. Son
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Extract

For this special edition of “Critical Stages,” Chambers-Letson and Son meditate on the following questions: What are the exigencies that animate your entry into the field of theatre and performance studies? How does a shared project in Asian American performance offer a range of possibilities for thinking through pressing political questions and crises that seem otherwise insurmountable?

Type
Critical Stages: Edited by Patrick Anderson
Information
Theatre Survey , Volume 54 , Issue 1 , January 2013 , pp. 131 - 139
Copyright
Copyright © American Society for Theatre Research 2013

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References

Endnotes

1. Bloch, Ernst, The Utopian Function of Art and Literature: Selected Essays, trans. Zipes, Jack and Mecklenburg, Frank (Cambridge, MA: MIT Press, 1988), 147–8Google Scholar; Bloch's italics.

2. Ibid., 227.

3. Ibid., 105.

4. Tse-Tung, Mao, “Talks at the Yenan Forum on Literature and Art,” in Selected Works of Mao Tse-Tung, vol. 3 (1942; Peking: Foreign Languages Press, 1975), 69Google Scholar.

5. Muñoz, José Esteban, Cruising Utopia: The Then and There of Queer Futurity (New York: NYU Press, 2009), 99Google Scholar.

6. In directly Marxist terms, because capital expands and absorbs that which seemingly stands outside or in opposition to it, cultural production became one of capital's core industries in the twentieth century. See Horkheimer, Max and Adorno, Theodor W., Dialectic of Enlightenment, trans. Cumming, John (New York: Continuum, 1972)Google Scholar. But even before industrial capitalism, cultural production was a chief weapon or tool of the ruling classes.

7. Chuh, Kandice, Imagine Otherwise: On Asian Americanist Critique (Durham, NC: Duke University Press, 2003)CrossRefGoogle Scholar.

8. Dolan, Jill, Utopia in Performance: Finding Hope at the Theater (Ann Arbor: University of Michigan Press, 2005), 92CrossRefGoogle Scholar.

9. Roach, Joseph, Cities of the Dead: Circum-Atlantic Performance (New York: Columbia University Press, 1996), 93Google Scholar.

10. Conquergood, Dwight, “Performance Studies: Interventions and Radical Research,” The Drama Review 46.2 (Summer 2002): 145–56, at 149CrossRefGoogle Scholar.

11. Ibid.

12. Ibid.

13. Román, David, Acts of Intervention: Performance, Gay Culture, and AIDS (Bloomington: Indiana University Press, 1998), xxviiGoogle Scholar. See also Dolan, Jill, The Feminist Spectator as Critic (Ann Arbor: University of Michigan Press, 1991), 120–1Google Scholar.

14. The twenty-year-long protests are known as Suyo Shiwi in Korean, which translates as “Wednesday Demonstrations.”

15. Conversation with Banko Takatsuka, Seoul, 23 July 2008.

16. Following Korean convention, surnames precede given names.

17. The 823rd Wednesday Demonstration was held on 23 July 2008.

18. Yong-soo Lee, interview by author, Los Angeles, 5 October 2007, 9–10.

19. Won-ok Gil, interview by author, Seoul, 27 July 2007, 7.

20. Norimitsu Onishi, “Denial Reopens Wounds of Japan's Ex-Sex Slaves,” New York Times, 8 March 2007.

21. Gil interview, 1–2.

22. Cole, Catherine M., Performing South Africa's Truth Commission: Stages of Transition (Bloomington: Indiana University Press, 2010), 136Google Scholar.

23. Balance, Christine Bacareza, “Notorious Kin: Filipino America Re-imagines Andrew Cunanan,” Journal of Asian American Studies 11.1 (2008): 87–106, at 90CrossRefGoogle Scholar.

24. Ibid.

25. Nancy, Jean-Luc, The Inoperative Community, ed. Connor, Peter, trans. Connor, Peter et al. (Minneapolis: University of Minnesota Press, 1991), 30–1Google Scholar.