Rewriting the Self-Identity in Diana Son’s Stop Kiss

Diana Son orchestrated a love story between two women in Stop Kiss, rewriting her self-identity while crossing the boundaries of sex, gender, sexuality and ethnicity. On the one hand, the two heroines in the play are the victims of homophobia due to the tragic violence that befalls them. On the other hand, the tender, innocent and genuine kiss between them, which is delayed to the last scene, represents their courage in facing their difference in the public and rebelling against the old views of a hetero-patriarchal world in which a woman identifies her role in relation to the man that she serves. Regardless of the man-specified responsibilities of staying at home, bearing babies and serving their husbands, the heroines gradually transform their identities from being heterosexuals to the ambiguous lesbians. Instead of focusing on the sex/gender binary in heterosexual dualism, the author reassesses the identities of the heroines based on diversity and plurality. Furthermore, Diana Son apparently sees no value in emphasizing her ethnicity as an Asian American writer, as the label of ethnicity narrows the potential world views of both the writer and the audience. Accordingly, the “kiss” in the play comes as a cataclysmic leap of self-awareness, trust and commitment, not solely as a statement of race and sexuality. It not only exposes the violence, bias and inequality of society, but also surpasses the writer’s self-identity as a heterosexual Asian American woman and rewrites her identity within the fulfillment of humanity without superiorities of race, ethnicity, gender, or sexuality

Aesthetics · Art · Chauvinism · Ethnic group · Human sexuality · Identity (music · KISS (TNC · Lesbian · Political science · Shame · Sociology · White (mutation · Gender Roles and Identity Studies · Gender Studies · Gender, Feminism, and Media · Law · Psychology · Race, History, and American Society · Social Psychology

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