In this bold, innovative work, Dorinne Kondo theorizes the racialized structures of inequality that pervade theater and the arts. Grounded in twenty years of fieldwork as dramaturg and playwright, Kondo mobilizes critical race studies, affect theory, psychoanalysis, and dramatic writing to trenchantly analyze theater's work of creativity as theory: acting, writing, dramaturgy. Race-making occurs backstage in the creative process and through economic forces, institutional hierarchies, hiring practices, ideologies of artistic transcendence, and aesthetic form. For audiences, the arts produce racial affect--structurally over-determined ways affect can enhance or diminish life. Upending genre through scholarly interpretation, vivid vignettes, and Kondo's original play, Worldmaking journeys from an initial romance with theater that is shattered by encounters with racism, toward what Kondo calls reparative creativity in the work of minoritarian artists Anna Deavere Smith, David Henry Hwang, and the author herself. Worldmaking performs the potential for the arts to remake worlds, from theater worlds to psychic worlds to worldmaking visions for social transformation.
- Cover
- Contents
- Acknowledgments
- Overture
- Entr’acte 1. Racial Affect and Affective Violence
- Act I. Mise-en-Scène
- Chapter 1. Theoretical Scaffolding, Formal Architecture
- Chapter 2. Racialized Economies
- Entr’acte 2. Acting and Embodiment
- Act II. Creative Labor
- Chapter 3. (En)Acting Theory
- Chapter 4. The Drama behind the Drama
- Chapter 5. Revising Race
- Entr’acte 3. The Structure of the Theater Company
- Act III. Reparative Creativity
- Chapter 6. Playwriting as Reparative Creativity
- Chapter 7. Seamless, A Full-Length Play
- Notes
- Works Cited
- Index
- A
- B
- C
- D
- E
- F
- G
- H
- I
- J
- K
- L
- M
- N
- O
- P
- Q
- R
- S
- T
- U
- V
- W
- Y
- Z
- Color Plates
Text
Audio
Adobe DRM
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