By bringing the plays together in this collection, Esther Kim Lee highlights the themes and styles that have enlivened Korean diasporic theater in the Americas since the 1990s. Some of the plays are set in urban Koreatowns. One takes place in the middle of Texas, while another unfolds entirely in a character's mind. Ethnic identity is not as central as it was in the work of previous generations of Asian diasporic playwrights.
Breaking new ground in this century, this wide-ranging collection of essays is the first of its kind to address the work of contemporary international women playwrights. The book considers the work of established playwrights such as Caryl Churchill, Marie Clements, Lara Foot-Newton, Maria Irene Fornes, Sarah Kane, Lisa Kron, Young Jean Lee, Lynn Nottage, Suzan-Lori Parks, Djanet Sears, Caridad Svich, and Judith Thompson, but it also foregrounds important plays by many emerging writers. Divided into three sections-Histories, Conflicts, and Genres-the book explores such topics as the feminist history play, solo performance, transcultural dramaturgies, the identity play, the gendered terrain of war, and eco-drama, and encompasses work from the United States, Canada, Latin America, Oceania, South Africa, Egypt, and the United Kingdom. With contributions from leading international scholars and an introductory overview of the concerns and challenges facing women playwrights in this new century, Contemporary Women Playwrights explores the diversity and power of women's playwriting since 1990, highlighting key voices and examining crucial critical and theoretical developments within the field.
A Companion to Korean American Studies presents interdisciplinary works from a number of authors who have contributed to the field of Korean American Studies. This collection ranges from chapters detailing the histories of Korean migration to the United States to contemporary flows of popular culture between South Korea and the United States. The authors present on Korean American history, gender relations, cultural formations, social relations, and politics. Contributors are: Sohyun An, Chinbo Chong, Angie Y. Chung, Rhoanne Esteban, Sue-Je Lee Gage, Hahrie Han, Jane Hong, Michael Hurt, Rachael Miyung Joo, Jane Junn, Miliann Kang, Ann H. Kim, Anthony Yooshin Kim, Eleana Kim, Jinwon Kim, Ju Yon Kim, Kevin Y. Kim, Nadia Y. Kim, Soo Mee Kim, Robert Ji-Song Ku, EunSook Lee, Se Hwa Lee, S. Heijin Lee, Shelley Sang-Hee Lee, John Lie, Pei-te Lien, Kimberly McKee, Pyong Gap Min, Arissa H. Oh, Edward J.W. Park, Jerry Z. Park, Josephine Nock-Hee Park, Margaret Rhee and Kenneth Vaughan.
The Methuen Drama Handbook of Theatre History and Historiography is an authoritative guide to contemporary debates and practices in this field. The book covers the key themes and methods that are current in theatre history research, with a particular focus on expanding the object of study to include engagement with theatre and performance practices and the development of theatre histories around the world. Central to the book are eighteen specially commissioned essays by established and emerging scholars from a wide range of international contexts, whose discussion of individual case studies is predicated on their understanding and experience of their 'local' landscape of theatre history. These essays reveal where important work continues to be done in the field and, most valuably, draws on academic contexts beyond the Western academy to expand our knowledge of the exciting directions that such an approach opens up. Prefaced by an introduction tracing the development of the discipline of theatre history and changing historiographical approaches, the Handbook explores current issues pertaining to theatre and performance history research, as well as providing up to date and robust introductions to the methods and historiographic questions being explored by researchers in the field. Featuring a series of essential research tools, including a detailed list of resources and an annotated bibliography of key texts, this is an indispensable scholarly handbook for anyone working in theatre and performance history and historiography.
The Oxford Handbook of Dance and Theater collects a critical mass of border-crossing scholarship on the intersections of dance and theatre. Taking corporeality as an idea that unites the work of dance and theater scholars and artists, and embodiment as a negotiation of power dynamics with important stakes, these essays focus on the politics and poetics of the moving body in performance both on and off stage. Contemporary stage performances have sparked global interest in new experiments between dance and theater, and this volume situates this interest in its historical context by extensively investigating other such moments: from pagan mimes of late antiquity to early modern archives to Bolshevik Russia to post-Sandinista Nicaragua to Chinese opera on the international stage, to contemporary flash mobs and television dance contests. Ideologically, the essays investigate critical race theory, affect theory, cognitive science, historiography, dance dramaturgy, spatiality, gender, somatics, ritual, and biopolitics among other modes of inquiry. In terms of aesthetics, they examine many genres such as musical theater, contemporary dance, improvisation, experimental theater, television, African total theater, modern dance, new Indian dance theater aesthetics, philanthroproductions, Butoh, carnival, equestrian performance, tanztheater, Korean Talchum, Nazi Movement Choirs, Lindy Hop, Bomba, Caroline Masques, political demonstrations, and Hip Hop. The volume includes innovative essays from both young and seasoned scholars and scholar/practitioners who are working at the cutting edges of their fields. The handbook brings together essays that offer new insight into well-studied areas, challenge current knowledge, attend to neglected practices or moments in time, and that identify emergent themes. The overall result is a better understanding of the roles of dance and theater in the performative production of meaning.
A Study Guide for Julia Cho's "BFE", excerpted from Gale's acclaimed Drama for Students.This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Drama for Students for all of your research needs.
This pivot considers the history, methodology and practice of Asian theatre and investigates the role of Asian theatre and film in contemporary transnational Asian identities. It critically reviews the topics of transnationalism and intercultural political difference, arguing that the concept of Transnational Asian theatre or 'TransAsia' can promote cultural diversity and social transformation. The book notably offers an understanding of theatre as a cultural laboratory, a repository for diverse histories and a forum for intercultural dialogue, allowing for a better understanding of sociocultural patterns surrounding transnational Asian identity and mobility.
Investigating more than 70 key concepts relating to the performing arts in more than six non-European languages, this volume provides a groundbreaking research tool and one-of-a-kind reference source for theatre, performance and dance studies worldwide. The Companion features in-depth explorations of and expert introductions to a select number of performance-related key concepts in Arabic, Chinese, Japanese, Korean, Yorùbá as well as the Indian languages Sanskrit, Hindi and Tamil. Key concepts—such as Furǧa فرجة in Arabic, for example, or Jiadingxing 假定性 in Chinese, Gei 芸 in Japanese, Ìparadà in Yorùbá and Imyeon 이면 in Korean—that defy easy translation from one language to another (and especially into English as the world’s lingua franca) and that reflect culturally specific ways of thinking and talking about the performing arts are thoroughly examined in in-depth articles. Written by more than 60 distinguished scholars from around the globe, the articles describe in detail each concept’s dynamic history, its flexible scope of meaning and current range of usage. The Companion also includes extensive introductions to each language section, in which internationally renowned experts explain how the presented key concepts are situated within, and are constitutive of, distinct and dynamic epistemic systems that have different yet always interlinked histories and orientations. Offers a fascinating insight into the unique histories, characteristics, and orientations of linguistically and culturally distinct epistemic systems related to the performative arts Contains extensive cross-references and bibliographies An invaluable research tool and one-of-a-kind reference source for scholars and students worldwide and across the humanities, especially in the fields of theatre, performance, dance, translation, area and cultural studies An accessible handbook for everybody interested in performance cultures and performance-related knowledge systems existing in the world today. This volume provides an invaluable research tool and one-of-a-kind reference source for scholars and students worldwide and across the humanities, especially in the fields of theatre, performance, dance, translation and area studies, history (of science and the humanities) and cultural studies.
Theater and Cultural Politics for a New World presents a radical re-examination of the ways in which demographic shifts will impact theater and performance culture in the twenty-first century. Editor Chinua Thelwell brings together the revealing insights of artists, scholars, and organizers to produce a unique intersectional conversation about the transformative potential of theater. Opening with a case study of the New WORLD Theater and moving on to a fascinating range of essays, the book looks at five main themes: Changing demographics Future aesthetics Making institutional space Critical multiculturalism Polyculturalism
