Daphne P Lei
Biographic Data
| ID | 456679 |
|---|---|
| NAME | Daphne P Lei |
| GIVEN NAMES | Daphne P |
| FAMILY NAME | Lei |
| SIGNATURE | LEI D P |
| AFFILIATIONS | Irvine University |
| VERIFIED | No |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 59 |
| AUTHOR COUNT | 13 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1994 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 3 |
Theatre Histories: An Introduction
Commemorative drama and Carnival
This chapter considers commemorative drama and Carnival, including instances in which the commemorative and the carnivalesque are combined in the same occasion, from the second century in China through the sixteenth in Europe. It focuses primarily on religious observances that lend themselves to commemorative performances: the Jewish Purim shpil, the Islamic Ta’ziyeh, India’s Ramlila, and the many forms of Christian ritual and drama, designed to …
Boring! The Performative Invisibility and Non-theatricality of Asian Americans in Higher Education
Boring! The Performative Invisibility and Non-theatricality of Asian Americans in Higher Education Daphne P. Lei (bio) Art objects occasionally perform an act of negation, some classic examples being Ce n’est pas une pipe (1929) by René Magritte and Le Vide (1958) by Yves Klein. The negation or lack of the object challenges the fundamental meaning of the subject’s gaze and complicates the relationship between the subject and object. Why does an o…
Uncrossing the Borders: Performing Chinese in Gendered (Trans)Nationalism
Over many centuries, women on the Chinese stage committed suicide in beautiful and pathetic ways just before crossing the border for an interracial marriage. Uncrossing the Borders asks why this theatrical trope has remained so powerful and attractive. The book analyzes how national, cultural, and ethnic borders are inevitably gendered and incite violence against women in the name of the nation. The book surveys two millennia of historical, liter…
Playful Yellowness: Rescuing Interculturalism from Millennial Orientalism
Interruption, Intervention, Interculturalism: Robert Wilson's HIT Productions in Taiwan
Hegemonic Intercultural Theatre (HIT), the theatrical collaboration between East and West in the most traditional sense, is the most established and dominant form of intercultural theatre today. This essay investigates interrupted cultural flows and the problem of intervention in Eastern HIT, the degrees of interruption and intervention determining the success of the intercultural performance. Two examples, Orlando (2009) and 1433: The Grand Voya…
Alternative Chinese Opera in the Age of Globalization: Performing Zero
List of Illustrations Acknowledgements Introduction: Performing Zero Total Makeover with Femininity: Innovative Jingju in Taiwan Pacification and Silence Resistance: Performing Hong Kong in The Flower Princess The Blossoming of the Transnational Peony: Performing Alternative China in California Waiting for Meaning: The Joint Venture of Robert Wilson, Jingju , and Taiwan Conclusion Bibliography Index
The Blood-Stained Text in Translation: Tattooing, Bodily Writing, and Performance of Chinese Virtue
This article focuses on bodily writing as a performance of virtue in premodern China. Bodily writing includes inscribing text on the body (tattooing), mutilation, and blood-letter-writing. These "bloody" acts were originally associated with the lowly or marginalized class but coopted by the mainstream society as a means of performing virtue. Virtuous bodily writing is gender-specific, especially as displayed on stage: while male writing surpasses…
Critical Theory and Performance
Operatic China
In this study Lei focuses on the notion of 'performing Chinese' in traditional opera in the 'contact zones', where two or more cultures, ethnicities, and/or ideologies meet and clash. This work seeks
The Production and Consumption of Chinese Theatre in Nineteenth-Century California
The history of the earliest documented Chinese opera performances in California (1852) and their successors during the following decades reveal how Chinese theatre in the diaspora was produced and consumed by Chinese immigrants, European visitors and Americans. On the one hand, a familiar repertoire eased the nostalgia and reinforced the national consciousness of Chinese immigrants, while on the other, the ethnocentric reading and writing of Chin…
Wang Zhaojun on the Border: Gender and Intercultural Conflicts in Premodern Chinese Drama
WANG ZHAOJUNa: Where are we now? XIONGNUb KHAN: This is Black Dragon River, the borderline between the Hanc and the Xiongnu.1 Everything to the south belongs to the Han empire, and everything to the north belongs to our barbaric Xiongnu kingdom. WANG ZHAOJUN: Your Majesty, may I ask for a cup of wine to make a libation to the South and to bid farewell to the Han, before I go on my longjourney? (She pours a libation.) [Ma 1989, 11-12]
Tradition, Innovation, and Politics: Chinese and Overseas Chinese Theatre across the World
Critical Theory and Performance
Operatic China
In this study Lei focuses on the notion of 'performing Chinese' in traditional opera in the 'contact zones', where two or more cultures, ethnicities, and/or ideologies meet and clash. This work seeks
Interruption, Intervention, Interculturalism: Robert Wilson's HIT Productions in Taiwan
Hegemonic Intercultural Theatre (HIT), the theatrical collaboration between East and West in the most traditional sense, is the most established and dominant form of intercultural theatre today. This essay investigates interrupted cultural flows and the problem of intervention in Eastern HIT, the degrees of interruption and intervention determining the success of the intercultural performance. Two examples, Orlando (2009) and 1433: The Grand Voya…
The Blood-Stained Text in Translation: Tattooing, Bodily Writing, and Performance of Chinese Virtue
This article focuses on bodily writing as a performance of virtue in premodern China. Bodily writing includes inscribing text on the body (tattooing), mutilation, and blood-letter-writing. These "bloody" acts were originally associated with the lowly or marginalized class but coopted by the mainstream society as a means of performing virtue. Virtuous bodily writing is gender-specific, especially as displayed on stage: while male writing surpasses…
Alternative Chinese Opera in the Age of Globalization: Performing Zero
List of Illustrations Acknowledgements Introduction: Performing Zero Total Makeover with Femininity: Innovative Jingju in Taiwan Pacification and Silence Resistance: Performing Hong Kong in The Flower Princess The Blossoming of the Transnational Peony: Performing Alternative China in California Waiting for Meaning: The Joint Venture of Robert Wilson, Jingju , and Taiwan Conclusion Bibliography Index
Tradition, Innovation, and Politics: Chinese and Overseas Chinese Theatre across the World
Wang Zhaojun on the Border: Gender and Intercultural Conflicts in Premodern Chinese Drama
WANG ZHAOJUNa: Where are we now? XIONGNUb KHAN: This is Black Dragon River, the borderline between the Hanc and the Xiongnu.1 Everything to the south belongs to the Han empire, and everything to the north belongs to our barbaric Xiongnu kingdom. WANG ZHAOJUN: Your Majesty, may I ask for a cup of wine to make a libation to the South and to bid farewell to the Han, before I go on my longjourney? (She pours a libation.) [Ma 1989, 11-12]
The Production and Consumption of Chinese Theatre in Nineteenth-Century California
The history of the earliest documented Chinese opera performances in California (1852) and their successors during the following decades reveal how Chinese theatre in the diaspora was produced and consumed by Chinese immigrants, European visitors and Americans. On the one hand, a familiar repertoire eased the nostalgia and reinforced the national consciousness of Chinese immigrants, while on the other, the ethnocentric reading and writing of Chin…
Operatic China
In this study Lei focuses on the notion of 'performing Chinese' in traditional opera in the 'contact zones', where two or more cultures, ethnicities, and/or ideologies meet and clash. This work seeks
Critical Theory and Performance
The Blood-Stained Text in Translation: Tattooing, Bodily Writing, and Performance of Chinese Virtue
This article focuses on bodily writing as a performance of virtue in premodern China. Bodily writing includes inscribing text on the body (tattooing), mutilation, and blood-letter-writing. These "bloody" acts were originally associated with the lowly or marginalized class but coopted by the mainstream society as a means of performing virtue. Virtuous bodily writing is gender-specific, especially as displayed on stage: while male writing surpasses…
Interruption, Intervention, Interculturalism: Robert Wilson's HIT Productions in Taiwan
Hegemonic Intercultural Theatre (HIT), the theatrical collaboration between East and West in the most traditional sense, is the most established and dominant form of intercultural theatre today. This essay investigates interrupted cultural flows and the problem of intervention in Eastern HIT, the degrees of interruption and intervention determining the success of the intercultural performance. Two examples, Orlando (2009) and 1433: The Grand Voya…
Alternative Chinese Opera in the Age of Globalization: Performing Zero
List of Illustrations Acknowledgements Introduction: Performing Zero Total Makeover with Femininity: Innovative Jingju in Taiwan Pacification and Silence Resistance: Performing Hong Kong in The Flower Princess The Blossoming of the Transnational Peony: Performing Alternative China in California Waiting for Meaning: The Joint Venture of Robert Wilson, Jingju , and Taiwan Conclusion Bibliography Index
Uncrossing the Borders: Performing Chinese in Gendered (Trans)Nationalism
Over many centuries, women on the Chinese stage committed suicide in beautiful and pathetic ways just before crossing the border for an interracial marriage. Uncrossing the Borders asks why this theatrical trope has remained so powerful and attractive. The book analyzes how national, cultural, and ethnic borders are inevitably gendered and incite violence against women in the name of the nation. The book surveys two millennia of historical, liter…
Playful Yellowness: Rescuing Interculturalism from Millennial Orientalism
Boring! The Performative Invisibility and Non-theatricality of Asian Americans in Higher Education
Boring! The Performative Invisibility and Non-theatricality of Asian Americans in Higher Education Daphne P. Lei (bio) Art objects occasionally perform an act of negation, some classic examples being Ce n’est pas une pipe (1929) by René Magritte and Le Vide (1958) by Yves Klein. The negation or lack of the object challenges the fundamental meaning of the subject’s gaze and complicates the relationship between the subject and object. Why does an o…
Theatre Histories: An Introduction
Commemorative drama and Carnival
This chapter considers commemorative drama and Carnival, including instances in which the commemorative and the carnivalesque are combined in the same occasion, from the second century in China through the sixteenth in Europe. It focuses primarily on religious observances that lend themselves to commemorative performances: the Jewish Purim shpil, the Islamic Ta’ziyeh, India’s Ramlila, and the many forms of Christian ritual and drama, designed to …
Art (11 works) · Aesthetics (7 works) · Political science (7 works) · Sociology (7 works) · Asian Culture and Media Studies (6 works) · History (6 works) · Literature (6 works) · Gender Studies (5 works) · Law (5 works) · Philippine History and Culture (5 works)