“That’s where you came in. To take words like “Asian” and “American” and race and nation and..and mess them up so badly that no one even knows what they mean anymore because that was Dad’s dream. A world where he can be Jimmy Stewart and a white guy can even be an Asian.” (Hwang 68-69).
“Passing”, according to Harvard professor, Randall Kennedy, is the “deception that enables a person to adopt certain roles or identities from which he would be barred by prevailing social standards” (Kennedy 1). Although often cases of passing are of minorities passing as white, the play, Yellowface, features a white man, Marcus, who chooses to pass as an Asian-American. Although Yellowface depicts Marcus’s ambiguous appearance initially as a foundational component …show more content…
When Marcus is introduced in Yellowface, there is speculation of his racial identity, which sets the foundation for his ability to pass. The recruiter of the play within the play, Face Value, cannot confirm Marcus’s racial identity due to his ambiguous features and a previous role as a Vietnam soldier (Hwang18). However, when Marcus is auditioning for the role of an Asian-American character, the director and playwright each assume he is white and Asian, respectively. Despite both seeing Marcus’s appearance and audition for an Asian-American role, each socially ascribe different racial identities. When disputing Marcus’s identity with the white director, the Asian-American playwright, David argues “..what exactly are Asian features?” (Hwang 21). David operates under the assumption that appearance is not the only defining factor of race and that appearance of a specific racial group is broad. Although Marcus does not “look” Asian to the director, his ambiguity combined with David’s disagreement about traditional Asian features perpetuates the idea that Marcus could be Asian. From his first introduction, Marcus passes as Asian-American based on his appearance and the Hwang’s challenging of racial identity through facial …show more content…
Once he embraces the notion that race is performative, he then begins to explore the intricacies of identity. In choosing to take on another Asian role on Broadway, Marcus commits to his new offstage identity by advocating for the Asian American community. Reciprocally, Marcus’ advocacy reaffirms his new identity. That said, his continued passing is not solely exploitive; He uses his visibility to discuss Asian-American media representation. In part II of Yellowface, Marcus wins an award from the Asian American Artists Association: “Most Promising Newcomer Warrior”. The award is in response to his outstanding performance of an Asian character in The King and I, which at first is thought of as stereotypical role. However, Marcus uses the controversial role to share his thoughts on representation of minorities in the media (Hwang 41). Marcus demonstrates his expanding social consciousness by stating “ the most important responsibilities for any actor of color is to be true to his or her community, to make sure we only put out positive images. I only agreed to be seen for the role [once I knew] the hallmark of this production would be cultural authenticity” (Hwang 41). Although the Newcomer Warrior award is related to his performance as an Asian American actor, it’s twofold because it also represents his acceptance into the community. Before receiving his award, Marcus declares,
“Passing”, according to Harvard professor, Randall Kennedy, is the “deception that enables a person to adopt certain roles or identities from which he would be barred by prevailing social standards” (Kennedy 1). Although often cases of passing are of minorities passing as white, the play, Yellowface, features a white man, Marcus, who chooses to pass as an Asian-American. Although Yellowface depicts Marcus’s ambiguous appearance initially as a foundational component …show more content…
When Marcus is introduced in Yellowface, there is speculation of his racial identity, which sets the foundation for his ability to pass. The recruiter of the play within the play, Face Value, cannot confirm Marcus’s racial identity due to his ambiguous features and a previous role as a Vietnam soldier (Hwang18). However, when Marcus is auditioning for the role of an Asian-American character, the director and playwright each assume he is white and Asian, respectively. Despite both seeing Marcus’s appearance and audition for an Asian-American role, each socially ascribe different racial identities. When disputing Marcus’s identity with the white director, the Asian-American playwright, David argues “..what exactly are Asian features?” (Hwang 21). David operates under the assumption that appearance is not the only defining factor of race and that appearance of a specific racial group is broad. Although Marcus does not “look” Asian to the director, his ambiguity combined with David’s disagreement about traditional Asian features perpetuates the idea that Marcus could be Asian. From his first introduction, Marcus passes as Asian-American based on his appearance and the Hwang’s challenging of racial identity through facial …show more content…
Once he embraces the notion that race is performative, he then begins to explore the intricacies of identity. In choosing to take on another Asian role on Broadway, Marcus commits to his new offstage identity by advocating for the Asian American community. Reciprocally, Marcus’ advocacy reaffirms his new identity. That said, his continued passing is not solely exploitive; He uses his visibility to discuss Asian-American media representation. In part II of Yellowface, Marcus wins an award from the Asian American Artists Association: “Most Promising Newcomer Warrior”. The award is in response to his outstanding performance of an Asian character in The King and I, which at first is thought of as stereotypical role. However, Marcus uses the controversial role to share his thoughts on representation of minorities in the media (Hwang 41). Marcus demonstrates his expanding social consciousness by stating “ the most important responsibilities for any actor of color is to be true to his or her community, to make sure we only put out positive images. I only agreed to be seen for the role [once I knew] the hallmark of this production would be cultural authenticity” (Hwang 41). Although the Newcomer Warrior award is related to his performance as an Asian American actor, it’s twofold because it also represents his acceptance into the community. Before receiving his award, Marcus declares,