THAR 281 PPT 3-5

-Began in 1960's amid Asian American Movement. -Created space for development of Asian American Plays. -Created work for Asian artist and explored experiences of Asian Americans. -Writes/ performs Asian American History.

-Edward Said (1978) -A way of thinking that constructs the East (British & French) oriental-ism and West(middle east & Africa) as separate, coherent entities -West/East: -rational/irrational -masculine/feminine -knowable/mysterious False and arbitrary division used to justify imperial rule

-David Henry Hwang -Based on: +Madame Butterfly story +Newspaper headline -Broadway -Tony Award -Later turned film version

-Genny Lim -Based on \"Paper Sons\" -Angel Island, Chinese immigration -Set during Chinese Exclusion Era

-By Michael Golamco -Adaptation of Cyrano de Bergerac -Comedy about 3 Korean Americans in Breakneck, Wyoming

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-Lack of Access +Audience +Performers/Creators +Representation +Erasure +Dominance of Male Perspective -The canon -\"The Male Gaze\"

-Dr. Jill Dolan, Princeton University -Reviews theatre, film, tv, from feminist perspective -The Feminist Spectator in Action

-League of Professional Theatre Women -Goal: Parity for women in professional theatre -20%: Professional opportunities that go to women playwrights, directors, and designers nationwide

-Alison Bechdel, cartoonist and author of -Fun Home -Are You My Mother? -Dykes to Watch Out For -The Test: +Does it have at least 2 named women? +Who talk to each other about something besides men?

1st wave:Education, employment, marriage laws, and the plight of intelligent middle class woman. Largely represented to specific injustices that had themselves experienced to suffrage. 3rd wave:Personal empowerment, identity pro-sex, strong interest in pop culture.

-First known female playwright -Read & wrote in Latin -Modeled plays on Terence (Roman comedy) -Christian stories -Holy Roman Empire

-Marsha Norman 'Night, Mother -Beth Henley Crimes of the Heart -Wendy Wasserstein The Heidi Chronicles -Lorraine Hansberry A Raisin in the Sun -Usually Realism or highly realistic -Women as protagonists -Plays produced in mainstream venues

-Est. over 100 feminist theatre companies founded in US -Influenced by Experimental Theatre Movement +Interest in Non-Realist forms +Ritual -Focus on Women's Experiences -Collective Organization -Focus on Process, Community -Lack of Money / Resources

-Core Members: +Muriel Miguel +Lisa Mayo Gloria Miguel -Native American Theater -Story-weaving

-Women's One World Festival, 1980-1981 -Becomes an ongoing collective in NYC - 1982 -Predominantly (not exclusively) lesbian space -Peggy Shaw and Lois Weaver, founders

-Helped begin off-off-B'way movement -Born in Havana, Cuba; came to U.S. at 15 -Also a director and writing mentor/teacher -Characteristics: +Unconventional structures, dialogue, staging +Symbolic +Brutality and humor -Plays include: +Fefu and Her Friends +Mud +Conduct of Life

-English playwright -Known for non-realism -Themes: gender, power, oppression -Influences: +Brecht, epic theater +Surrealism +Post-modernism

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Seeks to understand where in literature, the visual arts, music, and theatre we see the workings of, the mindsets behind, and the effects of colonial domination.

-Result of expansion of wealthy nations into less powerful ones -Colonized nations: +Need to be \"civilized\" (colonizer's view) +Usually non-white populations -Effects of colonial oppression: +Economic impoverishment +Erosion of culture/cultural identity

-Double-consciousness +Mimics colonizer (language, dress, etc.) +Attempts to maintain native culture

-Adaptation of Shakespeare's The Tempest -Set in...

-Guillermo Gomez-Pena & Coco Fusco -Performance art

-Caryl Churchill -Spark-notes

-Workshops -Writing -Rehearsal -Explores the parallels: -Sexual Oppression -Colonial Oppression

Playing a male/female role

Portraying a character of the opposite gender

Portraying a character of a different race.

One of the most important techniques Brecht developed to perform epic theater is the \"alienation\" effect. The purpose of this technique was to make the audience feel detached from the action of the play, so they do not become immersed in the fictional reality of the stage or become overly empathetic of the character. Flooding the theater with bright lights (not just the stage), having actors play multiple characters, having actors also rearrange the set in full view of the audience and \"breaking the fourth wall\" by speaking to the audience are all ways he used to achieve alienation or \"Verfremdungseffekt\"