A Transnational Encounter of Cosmopolitan Fantasies: Directing The World of Extreme Happiness at Stanford University

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Abstract/Contents

Abstract
This dramaturgical thesis interrogates the transnational dimension of staging Frances Ya-Chu Cowhig's play 'The World of Extreme Happiness,' a play about a factory girl in Shenzhen China, at Stanford University, an elite neoliberal university down the road from Silicon Valley. Specifically, we argue that, as Western cosmopolitan subjects, the audience encounter with the play is that of cultural consumption, projecting a fantasized timeline of modernity onto the protagonist's journey, with her rural home seen as 'backwards' and 'local' and the Western city as 'progressive' and 'cosmopolitan.' Consequently, this thesis examines how a production of this play can disrupt such an imagination by invoking the ways the protagonist is 'modern' and cosmopolitan, while still confronting the transnational power dynamics present in the relationship between audience and protagonist. We propose theatrical devices, particularly in and around 'gazing,' to performatively subvert these imagined global hierarchies among a Western cosmopolitan audience.

Description

Type of resource text
Date created May 2018

Creators/Contributors

Author Gupta, Vineet
Degree granting institution Stanford University, Department of Theater and Performance Studies
Primary advisor Menon, Jisha
Advisor Lee, Haiyan

Subjects

Subject theater and performance studies
Subject cosmopolitanism
Subject neoliberal theater
Subject western gaze
Subject cultural consumption
Subject asian american theater project
Subject the world of extreme happiness
Subject frances ya-chu cowhig
Genre Thesis

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This work is licensed under a Creative Commons Attribution Non Commercial 3.0 Unported license (CC BY-NC).

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Preferred Citation
Gupta, Vineet. (2018). A Transnational Encounter of Cosmopolitan Fantasies: Directing The World of Extreme Happiness at Stanford University. Stanford Digital Repository. Available at: https://purl.stanford.edu/fb245ps2961

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Stanford University, Department of Theater and Performance Studies, Undergraduate Honors Theses

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