본문 바로가기
  • Home

Asian American Male Sexuality Torn Between Communal and Self Identities in Julia Cho’s Durango

  • Journal of Modern English Drama
  • Abbr : JMBARD
  • 2013, 26(2), pp.197-216
  • Publisher : 한국현대영미드라마학회
  • Research Area : Humanities > English Language and Literature > English Literature > Contemporary English Drama

Miseong Woo 1

1연세대학교

Accredited

ABSTRACT

Ever since the most successful Asian American drama presented the character Song Liling in M. Butterfly by David Henry Hwang, Asian American male sexuality has been a heated topic among Asian American scholars and critics. The controversy has been highlighted by the popular film representation of homosexual Asian men in the American culture. The subject of Asian American male sexuality has functioned not only as a cultural obstacle and burden to Asian American scholars, critics and activists but as a communal pressure to Asian American men. Dealing with the issue of Asian American male sexuality, therefore, particularly homosexuality, can be a very sensitive issue in any Asian American drama. Julia Cho has been one of the most produced and researched Asian American playwrights in the U.S. for the last one decade. Durango, written in 2007 by Cho, boldly raises the issue of problematic Asian male sexuality, presenting an Asian American version of father-son relationship similar to Death of a Salesman,; only this time, the Korean American father and a son are troubled by their own sexuality. The representation of queerness of Asian American male characters can be met with vigorous criticism within the Asian American community as racial emasculation and negative stereotyping. Sexual minorities, therefore, in fear of social stigma, can reject their own sexual needs and individual desire, thus feeling both their gender and sexual identities are torn between communal and individual identities. Presenting a new generation of parent who is a subject of his own sexual desire and individual level of conflict, and a teenager who is searching for his own identity can be a bold, fresh start in dramatizing Asian American male characters in American theater history.

Citation status

* References for papers published after 2022 are currently being built.