Yellowface Plays - Report Sample

Introduction

In summary, the play in the Youtube presentation begins with an introduction interview by Jeff Liu and David Hwang. In the beginning, Hwang introduces his memoir "The Yellowface" as a kind of improbable memoir. In the bigging display, Hwang expressed his deepest gratitude extended to him by the YOMYOMF Network considering his play for the YouTube show. He explains that the play character is named after him and named after him as well. In this memoir, Hwang explains some truths and realistic practices based on his life experience. While at the same time, there is an aspect of the memoir based on his intellectual fiction. Hwang illustrates that the Yellowface is a play full of humor based on his natural tendency to write humorously. Therefore, the play's displayed film is inherently comic, humorous, and realistic to the game's characters.

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Play Presentation

The Yellowface play is written by a Tony award-winning, David Henry Hwang. The play presentation on YouTube by the YOMYOMF Network was presented by the Content creator Philip Chung and Jeff Liu, the executive director. The play was performed by many other characters Christopher Gorham, Ki Hong Lee, Linda Park, James Hughes, Tracy Winters, and Michael Krawiec, who significantly contributed to the play presentation. In the play, Hwang accidentally cast Marcus, who is a white man, as an Asian. The game further explores Hwang's relationship to his biological father and the Chinese culture in America. Yellowface as a play shadows the misadventures of the renowned American playwright David Hwang. Leading the protest of yellowface molding only by mistakenly cast the Caucasian instead in his play-acting as an Asian. The Literary Manager of East-West players, Jeff Liu and Ryun Yu, are majorly featured.

In this paper, I examine the various representations of Asian Americans in David Henry Hwang's Yellow Face and track the myriad of social roles that his two main characters, DHH and Marcus, cannot play, want to play, have to play, and are invited to play. I address how DHH struggles with his definition of what it means to be Asian American. By juxtaposing DHH and Marcus, the play serves as a prime example of what David Palumbo-Liu describes as "rescripting the imaginary," or the attempt of Asian American and other writers to "invent within their discursive spaces images of Asian America that both delineate the boundaries of Asian America and envision particular modes of crossing them." Through this role shifting and juxtaposition of the two main characters, Hwang simultaneously acknowledges the delineation of certain boundaries while also proposing potential opportunities for crossing those boundaries. Ultimately, I argue that Yellow Face calls for an understanding of the Asian American identity as a changeable dynamic and provides a potential strategy for its renegotiation.

As I was applying for internships last summer, I had to make two separate resumes. One resume is my artistic one focusing on my directing achievements, and the other is my education, which highlights my work with children and theater. Depending on the internship, I skewed myself as a different person, which people do all the time. In Yellowface by David Henry Hwang, this idea of performing varying identities is explored. The play shows that identity is layered, and we choose to wear a different "face," or layer of identity, depending on the situation and what will help us achieve our goals.

Various Representations

The most featured character, DHH, dresses many "faces" throughout the play performance. He jolts the play with his Asian-American identity at the lead as he discusses various discriminations Asian-Americans encounter every day. DHH's role in the game as a son clearly shows his identity as a person from a different heritage. To avoid his identity from other people, he wears a mask when he spends time with his father. He wears a mask to hide his identity from the far east. National, but he does so to appease his father and fulfill his duty of filial piety. If he were to wear his playwright mask in this scenario, he would not have joined the board because it would take up too much of his time devoted to writing. However, when he speaks with NWOAOC, he puts the "face" forward of a playwright, analyzing that he will consider writing another play to concentrate more on this conversation. Explaining that he will write about their conversation. Just because DHH has multiple "faces," that does not mean the other layers of his

identity are not present. He chooses which one will benefit him most at the time and then perform those ideas. Marcus perhaps frequently changes his face to adjust prevailing circumstances to fit himself in different racial practices that could otherwise favor him in his career. Marcus's letters to DHH symbolize his search for yet anew "face" of Chinese culture. He does this occasionally because where he lives as a person with mixed races, he faces he is prone to racial discrimination.

The play structure furthers this theme as it is a collaborative piece where a few actors Play, act, and perform different roles. As Hwang states, during the performance, the actors do not leave the stage to enable their audiences to see one character's transformation to another. This framework shows how easily a face can be changed from one character to another throughout the play performance. The language is also succinct and choppy like the structure, with small, alternating scenes happening briefly. Additionally, there are intermittent newspaper quotations, and the language contrasts with the typical dialogue of the play. The article writers' sound omnipotent and superior to everyone else, showcasing how the media poorly portrays minorities. Throughout the game, the aspect of racial discrimination is something serious in America. The play mirrors the environment on various challenges people undergo silently. Bu because the action is beyond their authority, most people suffer more than others due to racial discrimination.

Conclusion

Finally, in the newspaper clippings, they almost always start by identifying DHH as an Asian-American. They neglect to realize that DHH is much more than this one "face" he sometimes wears. This type of classification shows how Americans like to place people into one identity. The "what are you?" question that is brought up frequently in the play is an example of this notion. The image of the newspaper clippings thus symbolizes the American ignorance of layered identities. In the end, I do not think there is an issue with having two different resumes. But I believe it is important for people to recognize that we are constantly performing and aware of what is essential to understand each other better.

Works Cited

David, Hwang. A Review on YellowFace Play.