An analysis of contemporary Chinese American theatre from 1980s to 2010s in pancultural, intercultural, and intra-ethnic frameworks

In this thesis I explore the interplay between theatrical aesthetics and intercultural communication in Chinese American theatre between the 1980s and the 2010s to examine a broad yet remarkable shift of cultural framework in contemporary Chinese American theatre during this period. I will investigate how contemporary Chinese American playscripts and performances represented and undergirded the inheritance and transformation of cultural frameworks. Prior to the 1980s, as many scholars have noted, Chinese American theatre was typically an artistic response to political movements and aimed to condemn discrimination against Chinese Americans and fight for equal treatment. As represented by Frank Chin’s works, the major themes of Chinese American plays and performances were struggles against distorted stereotypes and the unequal treatment of Chinese Americans because of their ethnicity. After the 1980s, however, Chinese American theatre started to become more heterogeneous in theme and topic. Equally important, not much scholarship has reflected the shifting cultural frameworks in Chinese American theatre after the 1980s – a scholarly gap that this thesis seeks to fill. I use various research methods across the five chapters, including close reading, performance analysis, analysis of archival video recordings and programs, and interviews with the artists. My case studies compare different emphases in Chinese American theatre between the 1980s and the 2010s. With a focus on contemporary Chinese American theatre, I am keen to seek its particularity within the commonly adopted and broad Asian range, and aim for broader and more inclusive interpretations that promote cross-cultural understanding and break down barriers between different cultures and ethnic groups.