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- 저자 : ( Miseong Woo ) (검색결과 19 건)
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Tennessee Williams in Julia Cho : Intertextuality in Julia Cho’s BFE
Woo Miseong(우미성) 한국현대영미드라마학회 2010 현대영미드라마 Vol.23 No.1
This article examines Julia Cho’s adaptation of Tennessee Williams’ plot and characterization from The Glass Menagerie and A Streetcar Named Desire in her 2006 play BFE to describe how her extensive borrowing from the canonical American playwright might affect audiences’ potential reception of the play. Inspired by Julia Kristeva’s notion of intertextuality as well as her essay on abjection, this article maintains that the three Asian American characters in BFE are “abject” characters. The source of their familial and social relations is the internalized concept of “Asianness” as something biologically and intrinsically inferior. Karen Shimakawa has described the binary opposition of “Asian Americanness” and “Americanness” in U.S. culture. In Cho’s plays, Asian Americanness functions as abject in relation to Americanness. But, in both Shimakawa’s discussion and the understanding of Cho’s characters, Americanness is assumed as whiteness. Cho’s extensive borrowing from Williams in the play gives her characters vibration and refined texture. Her continued effort to conform her work to an American sensibility, itself formed by canonical American playwrights such as Williams and Miller, is an interesting artistic project. However, Cho has to make a turning point in her career as a playwright by turning her own representation of “Asianness” in a more progressive direction so that she does not continuously and redundantly represent only a victimized Asian sensibility.
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( Miseong Woo ) 한국영미문학페미니즘학회 2013 영미문학페미니즘 Vol.21 No.3
Since the second wave of the feminist movement in the United States, feminist theories and criticism have attempted to renegotiate the status quo and modify gender relations and representations in all social, political, economic, and cultural arenas. Children`s drama has been one of the fields that that has been slow in terms of embracing the modified and advanced gender consciousness. Mainstream theater productions for children and young adults still are not only lacking in number of productions but also in need of more creative new materials to meet the changes in the psychological development of children and young adults today. Any kind of cultural impact for children at an early age can be powerful and long lasting, since they internalize gender concepts as early as they are able to recognize differences in people. This article examines representation of female protagonists in children`s drama from a feminist perspective. Historically, children`s literature has been regarded as marginal and peripheral, just as women`s literature has been devalued in the history of literature. Although there has been a growing body of scholarship on feminist theory and criticism in children`s literature since the 1990s, mainstream children`s theater has been frequently presented with adaptations of fairy tales and Disney movies and adventure stories that are still limited in their scope, topicality, and characterization. Particularly lacking in current children`s theater and drama are strong well-developed young female protagonists whom any audience of children and young adults, regardless of age and gender, can easily identify with. Suzan Zeder`s plays for a young audience cover a wide range of topics and familiar theatrical devices borrowed from traditional fairy tales and children`s literature, blending fantasy and realism. More than anything else, her female protagonists go through internal change and depart from the traditional female protagonists, whose femininity is frequently associated with passivity and docileness. Both Ellie in Step on a Crack (1974) and Girl in Mother Hicks (1990) are the best examples of an androgynous young female protagonist who struggles to adjust to a major change in life. Theater practitioners must seek mature themes and use a wide range of theatrical devices that are socially and psychologically relevant to the needs of contemporary young audiences.
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Teaching Asian American Drama in a Korean Context: Text and Crucial Issues
Miseong Woo 한국영미문학교육학회 2005 영미문학교육 Vol.9 No.1
This article explores some of the pedagogic issues surrounding the field of Asian American drama in a Korean context. The first section of the article discusses difficulties of teaching the genre of drama and the area of Asian American literature. Unlike poetry and novels, the genre of drama must be taught in connection with the kind of theatre it is written for; thus, teachers of drama should be able to clarify for students the difference between theory and practice, a multitude of theatrical conventions, and readers' and audiences' potentially different receptions of a single text. Secondly, one must know the history of Asian immigration in the United States of America and Asian American literature in general in order to understand communal issues and the social context of Asian American history. The second section of the article briefly discusses obstacles, including the course itself in an undergraduate level curriculum, because of the traditional method of the genre/time-oriented rather than topic-oriented classification of English literature. Whether one can afford to spend an entire semester discussing Asian American drama or only several weeks on the subject, there are several texts to be considered and crucial issues to be discussed in class. The latter half of the article examines more than six different anthologies of Asian American drama published between 1990 to the present, the pros and cons of each collection, and how some of the plays need particular attention as potentially useful texts for Korean students. Issues of representation and authenticity have been the subject of controversy in Asian American literature in general and they could be a good starting point for heated discussion in a Korean classroom. Unfortunately, Korean American writers, particularly Korean American women, have been relatively inactive in the field of playwriting, despite the fact that theater practice is the most powerful means for constructing or subverting cultural meaning. Perhaps that issue could be one of the topics for discussion in class.
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Woo, Miseong(우미성) 한국현대영미드라마학회 2017 현대영미드라마 Vol.30 No.3
This article examines the National Theater Company of Korea’s 2017 Korean Diaspora Series, giving particular attention to the concept of diaspora and the evolution of diaspora studies from a twenty-first-century perspective. The later part of the article focuses on Julia Cho’s Aubergine, which premiered in Berkeley and New York in 2016, as a dramatic text of the Korean diaspora to analyze how the diasporic consciousness in the works of Cho can be received in the Korean context. Unlike the classical studies of diaspora that focus on a racial or ethnic group’s anthropological dispersal, the main concern of late twentieth-century diaspora studies has expanded to include emancipator politics and explore various conditions of racial, ethnic, and political minorities. Departing from the sociopolitical approach to diaspora studies, contemporary diaspora studies in the field of humanities can be characterized by their consideration of various states of diasporic experience that no longer necessitate a permanent break from a homeland. Redefining diaspora through a phenomenology of postmemory can help us better understand the ambivalence of second- and third-generation Korean diaspora writers and their feelings of abjection toward their cultural heritage. Although Korea remains a depressing space of national trauma and tragedy-inducing homeland with post-war privation and degradation, Cho’s diasporic position as a playwright can provide a critical distance from her parents’ motherland for Korean audience. Unlike her previous works, Aubergine proves that Cho feels more comfortable staging her own Korean heritage. Together with other Korean diaspora writers, Cho occupies a unique position as both an American and a Korean-identity-forming subject who can perceive the boundaries of Korean culture in relation to other cultural perspectives and values.
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