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In 1965, seven Asian American actors started East West Players, the first Asian American theatre company, and formed the first organization that would help Asian American theatre artists to develop their crafts and create their own images. The social and theatrical climate of the 1960s-the growing political awareness of racial minorities, the nationwide regional theatre movement, and the cultural nationalism of the Black theatre movement-has nourished the idea of founding an Asian American theatre in Los Angeles, away from the center of the theatrical industry both philosophically and geographically. At first, in the absence of plays written by Asian Americans, the company started with other Asian materials, adapting Asian novels and classics for stage like Rashomon. At the same time, the group staged Western classics, providing Asian American actors with opportunities to try roles that had been previously inaccessible to them because of their skin color.
But soon, as the group's political awareness and ethnic consciousness grew, the members felt unsatisfied doing only European and Asian classics. They began to realize that if they wanted to find an Asian American expression, they had to perform original materials written by Asian Americans. In 1968, therefore, the company started playwriting contest, which developed short story writers or novelists into playwrights and let them experience the joy of collaboration in theatre. East West Players' playwriting contest was particularly important in the subsequent development of the Asian American drama; it provided "first-wave" Asian American playwrights (Wakako Yamauchi, Momoko Iko, Frank Chin, Edward Sakamoto, Jeffery Paul Chan) with a forum to experiment and develop a new dramatic canon of Asian American plays.
Significantly enough, the East West Players was a pioneer in forming a pan-Asian identity, because its organization was one in which Asians of diverse national origins came together as a new, enlarged pan-ethnic group. East West Players showed that developing a distinct Asian American identity/culture was a prerequisite for attaining political power. The group was truly a pioneer that showed the potential of pan-Asian solidarity and pointed out their common fat-both past and future-in American society.
East West Players provided an inspiration and a model for the subsequent Asian American theaters in the 1970s. All the companies that started in the 1960s and 1970s still exist, and they are prospering with numerous new Asian American theatres throughout the nation. The very existence of early Asian American theatre companies, with their infra-structures, such as performing space, personnel, administrative organization, and educational programs, provided fundamental "base" for the later development of Asian American theatre and drama.
But soon, as the group's political awareness and ethnic consciousness grew, the members felt unsatisfied doing only European and Asian classics. They began to realize that if they wanted to find an Asian American expression, they had to perform original materials written by Asian Americans. In 1968, therefore, the company started playwriting contest, which developed short story writers or novelists into playwrights and let them experience the joy of collaboration in theatre. East West Players' playwriting contest was particularly important in the subsequent development of the Asian American drama; it provided "first-wave" Asian American playwrights (Wakako Yamauchi, Momoko Iko, Frank Chin, Edward Sakamoto, Jeffery Paul Chan) with a forum to experiment and develop a new dramatic canon of Asian American plays.
Significantly enough, the East West Players was a pioneer in forming a pan-Asian identity, because its organization was one in which Asians of diverse national origins came together as a new, enlarged pan-ethnic group. East West Players showed that developing a distinct Asian American identity/culture was a prerequisite for attaining political power. The group was truly a pioneer that showed the potential of pan-Asian solidarity and pointed out their common fat-both past and future-in American society.
East West Players provided an inspiration and a model for the subsequent Asian American theaters in the 1970s. All the companies that started in the 1960s and 1970s still exist, and they are prospering with numerous new Asian American theatres throughout the nation. The very existence of early Asian American theatre companies, with their infra-structures, such as performing space, personnel, administrative organization, and educational programs, provided fundamental "base" for the later development of Asian American theatre and drama.
목차
Ⅰ. Introduction
Ⅱ. East West Players and Emergence of Asian American Drama
Ⅲ. voice and Space in a Multicultural Society
Ⅳ. Conclusion
Work Cited
Abstract
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