Pan Asian Repertory Theatre

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Theatre entrance Pan-asian-theatre.jpg
Theatre entrance

The Pan Asian Repertory Theatre is a New York City-based theatre group that explores the Asian-American experience and provides professional opportunities for Asian-American artists to collaborate. Pan-Asian was founded by Tisa Chang and Ernest Abuba in 1977, and Chang remains artistic director. [1] Chang established the Pan Asian Repertory Theatre as a resident company at La MaMa Experimental Theatre Club in 1977, with the intention of popularizing Asian-American theater and leading to other similar theatre companies in cities with an Asian disaporic population. [2] [3]

Contents

Specializing in intercultural productions of new Asian-American plays, [3] Asian classics in translation, and innovative adaptations of Western classics, [2] some of the works Pan Asian has presented included:

Pan Asian has staged early works of writers including Momoko Iko, Wakako Yamauchi, Philip Kan Gotanda, R. A. Shiomi, and David Henry Hwang. When they established a residency program in 1987, Pan Asian became the United States' first resident Asian American theater company continuing with Chang's goal to showcase Asian American theater as having a role in the city's theater scene. [5] [6]

See also

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References

  1. Harry Haun, "40 Years On, Pan Asian Rep Still Uses Art as Protest", Playbill, June 16th, 2017
  2. 1 2 Mel Gussow, "A Stage for All the World of Asian-Americans", New York Times, April 22nd, 1997.
  3. 1 2 Alipio, Amy (2022-06-10). "These groundbreaking theaters shine a spotlight on Asian stories". National Geographic. Retrieved 2022-06-23.
  4. Kung, Michelle (2010-04-05). "Ching Chong Chinaman Playwright Explains Controversial Title". Wall Street Journal. ISSN   0099-9660 . Retrieved 2022-06-23.
  5. Lee, Esther Kim (2006-10-12). A History of Asian American Theatre. Cambridge University Press. pp. 43, 90–92. ISBN   978-0-521-85051-3.
  6. Bowles, Elinor (1993). Cultural Centers of Color: Report on a National Survey. National Endowment for the Arts. pp. 102–103.