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논문 기본 정보

자료유형
학술저널
저자정보
Jeong, Areum (University of California)
저널정보
한국현대영미드라마학회 현대영미드라마 현대영미드라마 제29권 제3호
발행연도
2016.12
수록면
213 - 246 (34page)

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초록· 키워드

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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.

목차

I. Introduction
II. Performing Cultural Contact in The Travelogue Series (1972-1987)
III. Performing Contact Zones in Deshima (1990)
IV. Not Just Performing Another Yellowface in Chinoiserie (1995)
V. Conclusion
Works Cited
Abstract

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