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The appearance of Asian-American writers who claimed "Asian-Americans' place in America" in the late 1960s and the early 1970s has made Asian-American literature markedly different from the writings of earlier periods. The simplistic or exotic treatments of Asia and Asians as "the Other" or "the eternal alien" in mainstream American literature and Asian-American literature began to be replaced by incisive examinations of Asian-American experiences and the Asia-America relationship. Asian-American playwrights actively participated in this movement. Asian-American playwrights who pioneered in making new Asian-American drama are Frank Chin, David H. Hwang, Jeffrey Paul Chan, and Philip Kan Gotanda.
Some distinctive characteristics in Asian-American drama from the 1970s can be defined as follows. First, the drama focuses on the tension among Asian-Americans and among Asians instead of those between Asians and white Americans. Second, the conflicts are much more complex and varied than those represented in the earlier plays. Third, the steps that the characters take in searching for their identities are similar: from the assimilationist phase, self-loathing phase, isolationist-nationalist phase, to the reconciliation phase. Fourth, there is the presence of a character who is called "the racial shadow," whose function is to awaken the racial consciousness of the assimilationist characters. Fifth, many characters who are tormented by their ethnic and cultural duality are presented as artists; they are writers, actors, film directors, etc. How to portray the actual experience of Asian-Americans possessed of Asian-American consciousness and universal perception is the concern of many playwrights.
David H. Hwang's FOB has all these features. In thematizing the conflicts among the American-born Chinese-American and 1.5 Chinese-American and FOB Hwang poignantly and comprehensively offers past and present reality of Asian-Americans and Asians in America. In an interview with John Louis DiGaetani, Hwang strongly advocates a new perspective whereby individuals look at one another "just as humans." Hwang posits this as the only way to achieve peaceful co-existence of different ethnicities. Such view is clearly presented in FOB through cross-role and metadramatic devices.
Asian-American writers in more recent years reject being classified as 'Asian-American' writers because that identity will automatically define and limit their works as by-products of specific cultures. They strongly proclaim that Asian-American literature must transform itself as world literature and illuminate both the particularities and universality of human life.
Some distinctive characteristics in Asian-American drama from the 1970s can be defined as follows. First, the drama focuses on the tension among Asian-Americans and among Asians instead of those between Asians and white Americans. Second, the conflicts are much more complex and varied than those represented in the earlier plays. Third, the steps that the characters take in searching for their identities are similar: from the assimilationist phase, self-loathing phase, isolationist-nationalist phase, to the reconciliation phase. Fourth, there is the presence of a character who is called "the racial shadow," whose function is to awaken the racial consciousness of the assimilationist characters. Fifth, many characters who are tormented by their ethnic and cultural duality are presented as artists; they are writers, actors, film directors, etc. How to portray the actual experience of Asian-Americans possessed of Asian-American consciousness and universal perception is the concern of many playwrights.
David H. Hwang's FOB has all these features. In thematizing the conflicts among the American-born Chinese-American and 1.5 Chinese-American and FOB Hwang poignantly and comprehensively offers past and present reality of Asian-Americans and Asians in America. In an interview with John Louis DiGaetani, Hwang strongly advocates a new perspective whereby individuals look at one another "just as humans." Hwang posits this as the only way to achieve peaceful co-existence of different ethnicities. Such view is clearly presented in FOB through cross-role and metadramatic devices.
Asian-American writers in more recent years reject being classified as 'Asian-American' writers because that identity will automatically define and limit their works as by-products of specific cultures. They strongly proclaim that Asian-American literature must transform itself as world literature and illuminate both the particularities and universality of human life.
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