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By Velina Houston

This anthology of labor by way of 3 Asian American girls playwrights Wakako Yamauchi, Genny Lim, and Velina Hasu Houston gains pioneering modern writers who've made their mark in neighborhood and ethnic theatres during the usa. In her creation, Houston observes that the Asian American girl playwright is forced 'to mine her soul' and exhibit the angst, worry, and rage that oppression has wrought whereas protecting her courting with the US as a very good citizen. The performs are wealthy with cultural and political substance and feature a feminist main issue approximately women's spirit, mind, and lives. They painting Asian and Asian American girls who problem the cultural and sexual stereotypes of the Asian lady. Yamauchi's performs care for how simply a rustic can dishonor its citizens.In "12-1-A," a jap American kinfolk is incarcerated in the course of international battle II in an Arizona camp the place Yamauchi herself was once interned. "The Chairman's spouse" dramatizes the lifetime of Madame Mao Tse Tung during the lens of occasions at Tien An males sq. in 1989. Lim's "Bitter Cane" is set the exploitation of chinese language labourers who have been recruited to paintings the Hawaiian sugar cane plantations. In "Asa Ga Kimashita" ("Morning Has Broken"), Houston explores a jap woman's interracial romance in postwar Japan and the effect of conventional patriarchy at the lives of eastern girls. those performs will entertain and enlighten, enrage and profoundly circulation audiences. With honesty, mind's eye and braveness, every one grapples with the politics of existence. writer notice: Velina Hasu Houston teaches within the college of Southern California's institution of Theatre and is the writer of "Tea", some of the most produced performs in regards to the adventure of Asians in the United States.

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On the surface, she is cynical and manages to laugh at the utter impossibilities of her existence. When she talks about the barrack for single women in which she lives, she says the women are lined up on narrow beds like inmates in a prison and Mitch Tanaka, a young Nisei, laughs at her, saying it is what she gets for being a woman. With bitter humor, Yo agrees: "Yeah, for being a woman. For being single. For being Japanese. " The wind also blows in two young Nisei, Ken Ichioka and Harry Yamane.

Lim and I are the early part of a second wave that also includes Akemi Kikumura, Karen Yamashita, Linda Kalayaan Faigao, Rosanna Yamagiwa Alfaro, and Karen Huie. While Iko and Yamauchi were influenced and catalyzed by the existence of Asian American theater, Lim and I arrived at our playwriting in unique ways that had nothing to do with the existence of such theaters. Lim, for instance, wrote Paper Angels, her first play, after exploring poetry that was discovered to be carved on the walls of Chinese immigrant detention centers on Angel Island in San Francisco Bay.

In desiring cultural and gender diversity in theater, I am not asking for political correctness. Rather, I am asking people to challenge their minds and broaden their perspectives. I consider "politi15 INTRODUCTION cal correctness" to be a term created by the European American far right in order to maintain its position of power and privilege in this society, a position achieved by a long legacy of racial and sexual oppression. The right presents political correctness as a demon created by the liberal left, when in reality it is mere camouflage for their own self-defense.

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