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The Inscription of Trauma in Philip Kan Gotanda's Family plays
Philip Kan Gotanda,Trauma,Family plays,The internment of Japanese Americans,
|Publication Year :||2019|
After World War II, the internment of Japanese Americans in the southwestern United States has went through a silent stage, Redress campaign, and has been constructed into an enormous national trauma. Trauma writing of the internment of Japanese Americans also reflects the same pattern. Only the sporadic publication in silence period, then in 1970s, more and more historical materials and records had been excavated. Redress campaign made people facing up to the past and striving hard to find the truth. The third stage of traumatic writing attempted to make the camp trauma transcend the time of World War II, the space in the southwestern United States, and the single ethnic group of Japanese, making the trauma memory get the greatest extension and energy. Philip Kan Gotanda as a Sansei, 'third generation', Japanese-American playwright, he has more than 20 plays showing his varied forms and styles. By dedicated himself to directing independent films, composing and performing rock and roll songs, all those different art forms convey his concern about the trauma of the internment and the marginal position of Japanese American communities.
Since the 1980s, Gotanda has created numerous family plays dealing with the Japanese American experience. Through his series of plays, which could picture the epitome of the history of Japanese immigrants. This thesis studies five works of Gotanda: ' Ballad of Yachiyo ', 'Sisters Matsumoto', ' A Song for Nisei Fisherman ', ' The Wash ' and 'Fish Head Soup'. Those family plays echoed the third stage, and enabled the traumatic writing to surpass the time and space restrictions of the camp. Through the daily life and family interaction, the symbolic technique as well as Japanese language and cultural traditions were used consciously. It also presented that each generation of Japanese Americans has struggled with national identity issues and contradiction under the impact of different eras. Within his plays, it will be able to observe the trauma not as a single historical event anymore, but as a kind of inscription continue to exist in life.
|Appears in Collections:||戲劇學系|
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