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(Un)Positioning Transnational Identities in Ping Chong’s Chinoiserie (1995) and Deshima (1990)

  • Journal of Modern English Drama
  • Abbr : JMBARD
  • 2016, 29(3), pp.213~246
  • Publisher : 한국현대영미드라마학회
  • Research Area : Humanities > English Language and Literature > English Literature > Contemporary English Drama

정아름 1

1University of California, Santa Barbara

Accredited

ABSTRACT

(Un)Positioning Transnational Identities in Ping Chong’s Chinoiserie (1995) and Deshima (1990) Abstract Jeong,Areum In the 1990s, Chinese-American performance artist Ping Chong created two intermedial performance pieces, Chinoiserie (1995) and Deshima (1990), which stage histories of East-West relations and how these relations shaped East-West cultural representations. Influenced by Meredith Monk and avant-garde performance groups, Ping Chong uses performance aesthetics such as the poetic arrangement of aural and visual imagery, transfiguration and transmutation of quotidian movements, and distortion and reorganization of the space-time continuum in performing histories of East-West relations. Through a close reading of Meredith Monk’s The Travelogue Series and Ping Chong’s Chinoiserie and Deshima, this article explores how the cultural and political surroundings create an urgency to express a particular identity and politics through performance. By illustrating the shifting rhetoric of the relationship between the East and the West, such works endeavor to challenge the status quo. This article focuses on how local cultural and political motifs are deployed as identity using intermedial performance strategies—performances that incorporate pre-filmed elements, often by projecting films or images into the background of a performance. The article analyzes how the projection of images can become a mis en scene, and even a characterological dynamic in consonance or dissonance with contemporary gestural practices, and how performance and screen can serve as an identificatory mode of cultural translation.

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