This is the first book to consider the formation, history, and practice of Asian Canadian theatre.
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| General Editor's Preface | |
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| Acknowledgements | |
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| Introduction to Asian Canadian Theatre | |
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| Enunciating Asian Canadian Drama | |
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| Performing Asian Canadlin: The Theatrical Dimension of a Grassroots Activism | |
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| Is There an Asian Canadian Theatre in Vancouver? | |
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| Homeland Under Attack: Looking for a New Theatrical Paradigm in Asian Americas | |
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| Performing Traditions and Diasporic Efforts: The Kunqu Society and Little Pear Garden Collective | |
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| On Being an Elder Statesperson | |
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| "Patient Zero": Jean Yoon and Korean Canadian Theatre | |
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| Reflections on the "Roots" Panel and "The Generational Divide" | |
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| Le Rugissement du Lion: Mapping and Memory in Montreal's Chinese/Canadian Street Theatre | |
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| Hybridity | |
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| Asian Canadian Performance and the Politics of Misrecognition | |
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| Sketching Subversion: Improv and the Representation of Race in Asian Canadian Comic Performances | |
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| Toronto: Don't Be an Asshole | |
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| The CBT Collective: Toward a Filipino Canadian Dramaturgy | |
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| Nightwood Theatre, Asian Canadian Women, and China Doll: The Ties That Bind | |
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| Asian Canadian Footprints in Edmonton's Concrete Theatre | |
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| Regional Artists/Racialized Spaces | |
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| Manipulating Theatrical Space to Create Physical Place: Betty Quan's Mother Tongue Reclaiming Space for the Individual | |
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| Performing Asian Canadian Intimacy: Theatre Replacement's bloboxes and awkward multiculturalisms | |
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| Jade in the Coal and the Performance of Theatrical Interculturalism | |
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| Acting Asian | |
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| Affect, Family, and the Past in Two Plays | |
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| Kai-dai; Staging Queer Subjectivity in Winston Christopher Kam's Bachelor-Man | |
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| Works Cited | |
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| Notes on Contributors | |
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| Index | |
