Authors: Joseph Stahle
Mentors: Jeb Branin
Insitution: Southern Utah University
Asian theatre has been a significantly ever-present force for millenniums from countries such as China, Japan, Thailand, and more. However, as modernization and globalization have come to the forefront, we have seen a decline in traditional theatrical practices. This begs the question of why these shows have seen a decline, and it also brings up the potential need for more positive representation in contemporary performance studies. This project seeks to view the historical context of Asian theatre from Noh and Peking opera to modern shows like “Miss Saigon”, “The King and I”, and “The Mikado”. Additionally, it explores the lack of Asiatic representation in our modern theatrical society.
Through traditional research methods, further understanding will be gained about Asian theatrical practices such as Noh, Kabuki, Peking opera, and shadow puppetry. Most importantly the use of critical approaches such as cultural studies, feminist criticism, and historical criticism, will reveal the lack of non-stereotypical representation of Asians within modern theatre. A key portion of the research will be conducted through personal interviews with Asian Studies and Asian Theatre professors.
Leo Shingchi Yip, an associate professor of Japanese studies at the University of Gettysburg, spoke about the misrepresentation of Chinese people during medieval Japan. Yip states, “The portrayals of the Chinese characters featured in these [Noh] ‘Chinese plays’ do not necessarily remain faithful to their Chinese origins. Attuning to the audience’s tastes, expectations, and knowledge was a key factor in shaping [Noh] into an artistic institution, which in turn determined the making and staging of ‘Chinese plays’ in medieval Japan.” This quote discusses how ancient Japan would adapt to the audience’s wants and wishes within their Noh performances. In present times, we do the same thing on Broadway and in local productions to best please our target demographic. If this selective representation was present during medieval Japan, then what is the expected outcome of change over time?
In most cases, if something is not termed as insensitive then it likely does not change. When looking at Broadway today, a vast majority of Asian interpretation falls under stereotypes and a minority of the cast’s proportions. Additionally, the presentation of women within the theatre is severely lacking; also, most modern Asiatic heroines fall under the depressive, suicidal, and manipulative Asian women stereotype.
The key goal of this presentation is to reveal the inequality and lack of positive Asian depictions in contemporary theatrics. The audience will learn about Asian historical productions as previously mentioned. This presentation forces them to look at their own biases and face the lack of representation within their own local communities as well. The audience’s understanding will blossom and see the harmful portrayals of Asians and seek to create a new hopeful future for all who want to participate in theatre. This hope provides equality for all regardless of skin color, body size, and gender identity.