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From the catwalks of Paris to the Broadway stage, from Rising Sun to the US casting controversies over Miss Saigon, About Face examines representations of Asia and their reverberations in both Asia and Asian American lives. Based on Dorinne Kondo's fieldwork, this innovative book brings together essays, vignettes, and an interview with playwright David Henry Hwang in an illuminating discussion of how the Asian identity is used and misused in popular culture. Demonstrating how issues of race, gender, nationality, and sexuality are articulated in the realm of popular culture, Kondo asks us to reappraise our assumptions of what Orientalism means in the world. Both theoretically and politically compelling, About Face offers a penetrating look at how old images or Orientalism are being contested and reshaped by a dynamic new vision of cultural identity.
In this bold, innovative work, Dorinne Kondo theorizes the
racialized structures of inequality that pervade theater and the
arts. Grounded in twenty years of fieldwork as dramaturg and
playwright, Kondo mobilizes critical race studies, affect theory,
psychoanalysis, and dramatic writing to trenchantly analyze
theater's work of creativity as theory: acting, writing,
dramaturgy. Race-making occurs backstage in the creative process
and through economic forces, institutional hierarchies, hiring
practices, ideologies of artistic transcendence, and aesthetic
form. For audiences, the arts produce racial affect--structurally
over-determined ways affect can enhance or diminish life. Upending
genre through scholarly interpretation, vivid vignettes, and
Kondo's original play, Worldmaking journeys from an initial romance
with theater that is shattered by encounters with racism, toward
what Kondo calls reparative creativity in the work of minoritarian
artists Anna Deavere Smith, David Henry Hwang, and the author
herself. Worldmaking performs the potential for the arts to remake
worlds, from theater worlds to psychic worlds to worldmaking
visions for social transformation.
In this bold, innovative work, Dorinne Kondo theorizes the
racialized structures of inequality that pervade theater and the
arts. Grounded in twenty years of fieldwork as dramaturg and
playwright, Kondo mobilizes critical race studies, affect theory,
psychoanalysis, and dramatic writing to trenchantly analyze
theater's work of creativity as theory: acting, writing,
dramaturgy. Race-making occurs backstage in the creative process
and through economic forces, institutional hierarchies, hiring
practices, ideologies of artistic transcendence, and aesthetic
form. For audiences, the arts produce racial affect--structurally
over-determined ways affect can enhance or diminish life. Upending
genre through scholarly interpretation, vivid vignettes, and
Kondo's original play, Worldmaking journeys from an initial romance
with theater that is shattered by encounters with racism, toward
what Kondo calls reparative creativity in the work of minoritarian
artists Anna Deavere Smith, David Henry Hwang, and the author
herself. Worldmaking performs the potential for the arts to remake
worlds, from theater worlds to psychic worlds to worldmaking
visions for social transformation.
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