+publisher:"Brown University" +contributor:("Ybarra, Patricia")

1. Goss, Lindsay Evan. Entertaining the Movement: Jane Fonda, GI Resistance, and the FTA.

Degree: PhD, Theatre Arts and Performance Studies, 2014, Brown University

URL: https://repository.library.brown.edu/studio/item/bdr:386331/

► This dissertation reframes contemporary investments in political performance through an analysis of the politics and practices of the FTA, a GI-oriented antiwar variety show led… (more)

▼ This dissertation reframes contemporary investments in political performance through an analysis of the politics and practices of the FTA, a GI-oriented antiwar variety show led by Jane Fonda. Over the course of nine months in 1971, the FTA played to tens of thousands of active-duty U.S. troops at home and overseas. Though modeled on the then-familiar format of Bob Hope’s USO-sponsored performances, the FTA (its name a reference to a slogan popular among disaffected GIs: “Free [or F – ] the Army”) presented material that was explicitly anti-war, anti-sexist, and anti-racist. Despite the show’s popularity and impact, the FTA appears nowhere in the theatre historical narrative of 1960s and ‘70s political performance—an omission that obscures key contours of the era’s artistic and political radicalization. This project reconstructs a history of the FTA in order to examine the terms according to which politically motivated performance practices fail to appear in histories of theatre and/or protest. Dependent upon celebrity performers and a popular form, the FTA sits outside a narrative of U.S. political performance that emphasizes, in varying combinations, avant-garde experimentation, collectivity, community, and audience participation. I argue that the FTA’s odd constellation of associated subjects-as-objects—specifically, its feature film (FTA!, released in 1972) full of GI spectators, as well as the controversial afterlives of actress-activist Fonda—productively disrupts this narrative, and makes apparent the political underpinnings of the contemporary definitions and investments in “political theatre” and the avant-garde that follow from it. Examining in particular the contradictory ways in which charges and claims of “just acting” attached to the actors and audiences of the FTA, I posit a theory of tactical acting, which deploys the presumed inauthenticity and illegitimacy of “staged” activity in order to enact relations of solidarity and threats of violence from the safety of theatre’s plausible deniability. I argue that such a theory is critical to understanding the political potential of activist performance, as well as to assessing the political implications of framing protest “as performance.” Advisors/Committee Members: Ybarra, Patricia (Director), Ybarra, Patricia (Reader), Schneider, Rebecca (Reader), Ridout, Nicholas (Reader).

Subjects/Keywords: Theatre history

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APA (6^th Edition):

Goss, L. E. (2014). Entertaining the Movement: Jane Fonda, GI Resistance, and the FTA. (Doctoral Dissertation). Brown University. Retrieved from https://repository.library.brown.edu/studio/item/bdr:386331/

Chicago Manual of Style (16^th Edition):

Goss, Lindsay Evan. “Entertaining the Movement: Jane Fonda, GI Resistance, and the FTA.” 2014. Doctoral Dissertation, Brown University. Accessed March 04, 2021. https://repository.library.brown.edu/studio/item/bdr:386331/.

MLA Handbook (7^th Edition):

Goss, Lindsay Evan. “Entertaining the Movement: Jane Fonda, GI Resistance, and the FTA.” 2014. Web. 04 Mar 2021.

Vancouver:

Goss LE. Entertaining the Movement: Jane Fonda, GI Resistance, and the FTA. [Internet] [Doctoral dissertation]. Brown University; 2014. [cited 2021 Mar 04]. Available from: https://repository.library.brown.edu/studio/item/bdr:386331/.

Council of Science Editors:

Goss LE. Entertaining the Movement: Jane Fonda, GI Resistance, and the FTA. [Doctoral Dissertation]. Brown University; 2014. Available from: https://repository.library.brown.edu/studio/item/bdr:386331/

2. Carriger, Michelle Liu. Theatricality of the Closet: Clothing Controversies in Victorian Britain and Meiji Japan.

Degree: PhD, Theatre Studies, 2013, Brown University

URL: https://repository.library.brown.edu/studio/item/bdr:320548/

► Using three cases of fashion controversy that took place across the globe during a very small window of time (1868-1872), I articulate ways in which… (more)

Subjects/Keywords: theatricality

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APA (6^th Edition):

Carriger, M. L. (2013). Theatricality of the Closet: Clothing Controversies in Victorian Britain and Meiji Japan. (Doctoral Dissertation). Brown University. Retrieved from https://repository.library.brown.edu/studio/item/bdr:320548/

Chicago Manual of Style (16^th Edition):

Carriger, Michelle Liu. “Theatricality of the Closet: Clothing Controversies in Victorian Britain and Meiji Japan.” 2013. Doctoral Dissertation, Brown University. Accessed March 04, 2021. https://repository.library.brown.edu/studio/item/bdr:320548/.

MLA Handbook (7^th Edition):

Carriger, Michelle Liu. “Theatricality of the Closet: Clothing Controversies in Victorian Britain and Meiji Japan.” 2013. Web. 04 Mar 2021.

Vancouver:

Carriger ML. Theatricality of the Closet: Clothing Controversies in Victorian Britain and Meiji Japan. [Internet] [Doctoral dissertation]. Brown University; 2013. [cited 2021 Mar 04]. Available from: https://repository.library.brown.edu/studio/item/bdr:320548/.

Council of Science Editors:

Carriger ML. Theatricality of the Closet: Clothing Controversies in Victorian Britain and Meiji Japan. [Doctoral Dissertation]. Brown University; 2013. Available from: https://repository.library.brown.edu/studio/item/bdr:320548/

3. Morrison, Elise R. Discipline and Desire: Surveillance, Feminism, Performance.

Degree: PhD, Theatre Studies, 2011, Brown University

URL: https://repository.library.brown.edu/studio/item/bdr:11188/

► This dissertation investigates the emergent genre of 'surveillance art,' or art works that centrally employ technologies and techniques of surveillance to create theatre, installation, and… (more)

▼ This dissertation investigates the emergent genre of 'surveillance art,' or art works that centrally employ technologies and techniques of surveillance to create theatre, installation, and performance art. Theoretically grounded in cultural theory, feminist theory, and performance studies, and focused on practices within performance and new media art, this work examines the wide variety of ways in which surveillance artists tactically utilize material technologies of surveillance to politically and aesthetically address a multitude of social, political, and technical issues raised by increasingly pervasive surveillance around the world. By appropriating surveillance technologies from military, state, and consumer markets into public and private spaces of performance and interactive installation, surveillance artists re-contextualize these technologies and the power dynamics that historically attend them, provoking critical inquiry of the disciplinary functions of the human-technology interface of surveillance.Throughout the dissertation, I examine a range of surveillance art works by groups such as The Surveillance Camera Players, the Institute for Applied Autonomy, and the Shunt Collective, and artists as Sophie Calle, Jill Magid, Steve Mann, Janet Cardiff, Mona Hatoum, Giles Walker, and Edit Kaldor, each of whom stage performances and interactive installations that show up, critique, and/or re-structure dominant surveillance technologies and techniques. I trace issues central to the political and tactical aims of these surveillance artists, examining a wide range of art and performance pieces that investigate the gaze, in/visibility, discipline, pleasure, and the effects of bringing new technologies of vision into interactive spheres of performance. I simultaneously explore the centrality of these same issues within the fields of performance studies, surveillance studies, and feminist theory, putting these distinct but overlapping paradigms in conversation in order to build a cultural theory of surveillance art. Though most contemporary surveillance artists do not draw explicit allegiances to feminism, I argue that they are in implicit conversation with feminist approaches to defining, critiquing, and building alternatives to a dominant, disciplinary gaze in visual culture. Advisors/Committee Members: Schneider, Rebecca (Director), Ybarra, Patricia (Reader), Emigh, John (Reader).

Subjects/Keywords: surveillance

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APA (6^th Edition):

Morrison, E. R. (2011). Discipline and Desire: Surveillance, Feminism, Performance. (Doctoral Dissertation). Brown University. Retrieved from https://repository.library.brown.edu/studio/item/bdr:11188/

Chicago Manual of Style (16^th Edition):

Morrison, Elise R. “Discipline and Desire: Surveillance, Feminism, Performance.” 2011. Doctoral Dissertation, Brown University. Accessed March 04, 2021. https://repository.library.brown.edu/studio/item/bdr:11188/.

MLA Handbook (7^th Edition):

Morrison, Elise R. “Discipline and Desire: Surveillance, Feminism, Performance.” 2011. Web. 04 Mar 2021.

Vancouver:

Morrison ER. Discipline and Desire: Surveillance, Feminism, Performance. [Internet] [Doctoral dissertation]. Brown University; 2011. [cited 2021 Mar 04]. Available from: https://repository.library.brown.edu/studio/item/bdr:11188/.

Council of Science Editors:

Morrison ER. Discipline and Desire: Surveillance, Feminism, Performance. [Doctoral Dissertation]. Brown University; 2011. Available from: https://repository.library.brown.edu/studio/item/bdr:11188/

4. Bush, Daniella W. Words that Speak, Literature that Acts: Diamela Eltit's Narrative Performances.

Degree: PhD, Hispanic Studies, 2012, Brown University

URL: https://repository.library.brown.edu/studio/item/bdr:297659/

► Throughout 2011, Chile was swept by a wave of protests using performance to communicate demands for educational reform. Ranging from flash mobs to kiss-ins, these… (more)

▼ Throughout 2011, Chile was swept by a wave of protests using performance to communicate demands for educational reform. Ranging from flash mobs to kiss-ins, these political mobilizations based on an aesthetics of embodiment and presence can be traced to the art activism that emerged in Chile after the 1973 coup initiated a seventeen-year dictatorship. In particular, the narrative of contemporary Chilean author Diamela Eltit (b. 1949) offers a case study that articulates the ways in which performance allows artists and activists to create consciousness about the need for social change in the midst of crisis. While the current protest movements in Chile respond to an on-going crisis of political representation and the increasing failure of traditional artistic forms to communicate meaningfully in a hyper-stimulated society, Eltit's work engages with the crisis of state-induced violence and trauma during the Chilean dictatorship, and then with the ensuing promulgation of olvido created by the transition to democracy, as the predominance of a neoliberal philosophy displaced memories of violence with the trends of the market. This dissertation charts performance as an interdisciplinary discourse that permeates the work of Diamela Eltit. Applying a Performance Studies lens to her narrative, it asks: what is it that Eltit's work does? If it is clear that her writing is always a hybrid project of image, voice, prose, and action, then what has motivated Eltit's move beyond the literary, and what is lost when critics and readers fail to recognize and incorporate her performances into the greater body of her work? I trace Eltit's physical and literary performances as they map urban space, grapple with military repression, construct alternate national epics, and restage transitional politics and justice. Building on the theoretical work of Richard Schechner, Peggy Phelan, Rebecca Schneider, Elaine Scarry, and Diana Taylor, I argue that Eltit's performances not only complement but also complete a broader narrative project that questions the boundaries and limitations of literature, art, and politics, while simultaneously revealing a Chile that is still struggling to define itself in the wake of its traumatic past. Advisors/Committee Members: Ortega, Julio (Director), Ybarra, Patricia (Reader), Tierney-Tello, Mary Beth (Reader).

Subjects/Keywords: Diamela Eltit

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APA (6^th Edition):

Bush, D. W. (2012). Words that Speak, Literature that Acts: Diamela Eltit's Narrative Performances. (Doctoral Dissertation). Brown University. Retrieved from https://repository.library.brown.edu/studio/item/bdr:297659/

Chicago Manual of Style (16^th Edition):

Bush, Daniella W. “Words that Speak, Literature that Acts: Diamela Eltit's Narrative Performances.” 2012. Doctoral Dissertation, Brown University. Accessed March 04, 2021. https://repository.library.brown.edu/studio/item/bdr:297659/.

MLA Handbook (7^th Edition):

Bush, Daniella W. “Words that Speak, Literature that Acts: Diamela Eltit's Narrative Performances.” 2012. Web. 04 Mar 2021.

Vancouver:

Bush DW. Words that Speak, Literature that Acts: Diamela Eltit's Narrative Performances. [Internet] [Doctoral dissertation]. Brown University; 2012. [cited 2021 Mar 04]. Available from: https://repository.library.brown.edu/studio/item/bdr:297659/.

Council of Science Editors:

Bush DW. Words that Speak, Literature that Acts: Diamela Eltit's Narrative Performances. [Doctoral Dissertation]. Brown University; 2012. Available from: https://repository.library.brown.edu/studio/item/bdr:297659/

5. Nye, Alice C. Stages of Risk: Economies of Ambivalence in Cancer Genetics.

Degree: PhD, Theatre Arts and Performance Studies, 2014, Brown University

URL: https://repository.library.brown.edu/studio/item/bdr:386332/

► This dissertation examines the constitutive relation of gender and performance to knowledge production in the genetic sciences in twentieth and twenty-first century US. In recent… (more)

▼ This dissertation examines the constitutive relation of gender and performance to knowledge production in the genetic sciences in twentieth and twenty-first century US. In recent decades, a series of contradictions have emerged in the field of breast and ovarian cancer genetics that challenge common distinctions between biological nature and cultural artifice. From laboratory practices of cloning and patenting genes to medical practices of treating genetic risk as a disease by surgically removing healthy breasts and ovaries, this project argues that scientific understandings of genetic “natures” are drawing on mimetic “second natures” as a privileged mode of inquiry, evidence, and intervention. Combining archival and ethnographic research with critical analysis of medial, textual, and visual cultures, each chapter of this dissertation takes up a key paradox that inheres in the new genetics. In the process, it illuminates the rise of an alternative approach to knowledge production in which stakeholders are highlighting the ontological ambivalence of scientific knowledge objects, rather than treating them as natural or unmediated matters of fact. Across diverse social, scientific, clinical, economic, and legal domains, this project shows how practices of staging the artifice of biological nature and rendering mimesis apparent have come to characterize modes of knowing and intervening in bodies. This epistemic shift toward staging the constructedness of biological realities signals three broader mutations in contemporary economies of gender and technoscience. First, conventionally feminized modes of knowing such as affect, imitation, and relation are increasingly vital, not inimical, to scientific practice. Second, lay actors are playing a more active and critical role in producing and contesting genetic knowledge. And lastly, by staging, rather than effacing, the construction of genetic natures, lay and expert stakeholders are rendering newly apparent the uneven social, economic, and political landscape of women’s health. Advisors/Committee Members: Schneider, Rebecca (Director), Hamdy, Sherine (Reader), Ybarra, Patricia (Reader), Ridout, Nicholas (Reader).

Subjects/Keywords: Biomedicine

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APA (6^th Edition):

Nye, A. C. (2014). Stages of Risk: Economies of Ambivalence in Cancer Genetics. (Doctoral Dissertation). Brown University. Retrieved from https://repository.library.brown.edu/studio/item/bdr:386332/

Chicago Manual of Style (16^th Edition):

Nye, Alice C. “Stages of Risk: Economies of Ambivalence in Cancer Genetics.” 2014. Doctoral Dissertation, Brown University. Accessed March 04, 2021. https://repository.library.brown.edu/studio/item/bdr:386332/.

MLA Handbook (7^th Edition):

Nye, Alice C. “Stages of Risk: Economies of Ambivalence in Cancer Genetics.” 2014. Web. 04 Mar 2021.

Vancouver:

Nye AC. Stages of Risk: Economies of Ambivalence in Cancer Genetics. [Internet] [Doctoral dissertation]. Brown University; 2014. [cited 2021 Mar 04]. Available from: https://repository.library.brown.edu/studio/item/bdr:386332/.

Council of Science Editors:

Nye AC. Stages of Risk: Economies of Ambivalence in Cancer Genetics. [Doctoral Dissertation]. Brown University; 2014. Available from: https://repository.library.brown.edu/studio/item/bdr:386332/

6. Mulekwa, Charles. Performing the Legacy of War in Uganda.

Degree: PhD, Theatre Studies, 2012, Brown University

URL: https://repository.library.brown.edu/studio/item/bdr:297748/

► This Dissertation explores the interaction of performance and warfare in the framework of colonial and post-colonial times. The issues in question unfold in relationship with… (more)

▼ This Dissertation explores the interaction of performance and warfare in the framework of colonial and post-colonial times. The issues in question unfold in relationship with political history, but are in fact bound by Ugandan playwriting, theatre, and performance practices, with a focus on 1962-2010. Although a number of dramatists draw from the colonial encounter for present day cultural expression, syncretism is at the heart of self-definition in post-colonial Ugandan society. The thesis examines the works of a range of home-bred, as well as Diaspora Ugandan dramatists such as Sam Okello, Kenneth Kimuli, Okot p’Bitek, Byron Kawadwa, John Ruganda, George Seremba, Rose Mbowa, Alex Mukulu, and Ntare Mwine to argue that since Independence from British rule, Uganda has been hostage to a legacy of war – a post-colonial nation spiraling in a state of ruthless power contestations, with violence of various degrees. Inevitably, the history informs many of the plays and the plays become a part of the history. The dramatic works studied embody the hard realities as well as subjunctive version of post-colonial Ugandan cultural and political aspirations. Theoretical projects of African as well as European/Western thinking inform the story, but ultimately it focuses on Ugandan society: 1962-2010. The narrative and analysis of content found in this dissertation represents my rendezvous with Ugandan performance vis a vis the legacy of war. The narrative will explore how performance articulates war and warfare engages with performance on a historical, political and cultural scale. The “emic” and “etic” strands of thought guide the analysis; the former refers to insider and the latter outsider information/response/action/ reaction. Most of the plays are “emic” and a fair amount of the theory is “etic.” Each chapter represents a different time-frame in Ugandan political history, in terms of (the ever shifting) paradigms of playwriting, theatre, and performance. Advisors/Committee Members: Emigh, John (Director), Ybarra, Patricia (Reader), George, Olakunle (Reader), Bogues, Barrymore (Reader).

Subjects/Keywords: Theatre

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APA (6^th Edition):

Mulekwa, C. (2012). Performing the Legacy of War in Uganda. (Doctoral Dissertation). Brown University. Retrieved from https://repository.library.brown.edu/studio/item/bdr:297748/

Chicago Manual of Style (16^th Edition):

Mulekwa, Charles. “Performing the Legacy of War in Uganda.” 2012. Doctoral Dissertation, Brown University. Accessed March 04, 2021. https://repository.library.brown.edu/studio/item/bdr:297748/.

MLA Handbook (7^th Edition):

Mulekwa, Charles. “Performing the Legacy of War in Uganda.” 2012. Web. 04 Mar 2021.

Vancouver:

Mulekwa C. Performing the Legacy of War in Uganda. [Internet] [Doctoral dissertation]. Brown University; 2012. [cited 2021 Mar 04]. Available from: https://repository.library.brown.edu/studio/item/bdr:297748/.

Council of Science Editors:

Mulekwa C. Performing the Legacy of War in Uganda. [Doctoral Dissertation]. Brown University; 2012. Available from: https://repository.library.brown.edu/studio/item/bdr:297748/

7. Christian, DuComb G. From the Meschianza to the Mummers Parade: Racial Impersonation in Philadelphia.

Degree: PhD, Theatre Studies, 2012, Brown University

URL: https://repository.library.brown.edu/studio/item/bdr:297747/

► This dissertation explores the construction of identity and difference through racial impersonation in Philadelphia’s theatre and performance history. Each chapter expands outward from a local… (more)

▼ This dissertation explores the construction of identity and difference through racial impersonation in Philadelphia’s theatre and performance history. Each chapter expands outward from a local focus on Philadelphia toward historical and formal connections with practices of racial impersonation in other parts of the Atlantic world, illuminating the close and under-recognized relationship between oriental impersonation and blackface masking. As such, this project contributes not only to scholarship on blackface minstrelsy but also to an emerging critique of “the Atlantic” as an historical model—a critique that acknowledges cultural and economic relations beyond the shores of Europe, the Americas, and West Africa as immanent to intra-Atlantic constructions of race. Through dramatic texts, playbills, newspapers, and graphic art—as well as through makeup styles, costume pieces, dance steps, and popular songs—“From the Meschianza to the Mummers Parade” situates Philadelphia’s history of racial impersonation within geographies and genealogies of performance that extend far beyond the city of brotherly love. Chapter 1 reconstructs the performances of oriental impersonation staged at the Meschianza, a lavish fete hosted by the British army during the Revolutionary War and later parodied in blackface on the streets of Philadelphia. Chapters 1 and 2 analyze the overlapping practices of oriental and blackface impersonation in Philadelphia’s eighteenth- and nineteenth-century dramatic repertoire, focusing on plays by Susanna Rowson, Isaac Bickerstaffe, and T.D. Rice. Chapters 2 and 3 argue that caricatures of oriental, African American, and working-class white subjects by Philadelphia graphic artists E.W. Clay and D.C. Johnston contributed to the production of blackface stage characters like Long Tail Blue, Coal Black Rose, and Jim Crow. And chapter 4 traces a performance genealogy of the blackface, cross-dressed “wenches” of Philadelphia’s annual Mummers Parade, whose costumes, music, and dance steps hark back to Revolutionary-era street performance, nineteenth-century racial caricature, and the antebellum minstrel show. By passing through the wormhole of the local into a reconfigured understanding of the global, this project highlights the co-articulation of oriental impersonation and blackface masking across a broad range of theatre and performance histories. Advisors/Committee Members: Schneider, Rebecca (Director), Emigh, John (Reader), Ybarra, Patricia (Reader), Nathans, Heather (Reader).

Subjects/Keywords: theatre

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APA (6^th Edition):

Christian, D. G. (2012). From the Meschianza to the Mummers Parade: Racial Impersonation in Philadelphia. (Doctoral Dissertation). Brown University. Retrieved from https://repository.library.brown.edu/studio/item/bdr:297747/

Chicago Manual of Style (16^th Edition):

Christian, DuComb G. “From the Meschianza to the Mummers Parade: Racial Impersonation in Philadelphia.” 2012. Doctoral Dissertation, Brown University. Accessed March 04, 2021. https://repository.library.brown.edu/studio/item/bdr:297747/.

MLA Handbook (7^th Edition):

Christian, DuComb G. “From the Meschianza to the Mummers Parade: Racial Impersonation in Philadelphia.” 2012. Web. 04 Mar 2021.

Vancouver:

Christian DG. From the Meschianza to the Mummers Parade: Racial Impersonation in Philadelphia. [Internet] [Doctoral dissertation]. Brown University; 2012. [cited 2021 Mar 04]. Available from: https://repository.library.brown.edu/studio/item/bdr:297747/.

Council of Science Editors:

Christian DG. From the Meschianza to the Mummers Parade: Racial Impersonation in Philadelphia. [Doctoral Dissertation]. Brown University; 2012. Available from: https://repository.library.brown.edu/studio/item/bdr:297747/

8. Mok, Christine Y. Disorientations: Theatricality and Contemporary Asian American Performance.

Degree: PhD, Theatre Studies, 2013, Brown University

URL: https://repository.library.brown.edu/studio/item/bdr:320609/

► This dissertation investigates how theatricality and performance enter into the scene of contemporary Asian American cultural production. I argue that Asian American artists and writers,… (more)

▼ This dissertation investigates how theatricality and performance enter into the scene of contemporary Asian American cultural production. I argue that Asian American artists and writers, working across different aesthetic media, take up theatre and its forms, to reveal impossibility and the inauthentic as paradigms of racial identity and identification. My project traces these theatricalist turns as disorientations of cultural nationalist politics, rooted in authenticity and mimetic crisis, by examining Maxine Hong Kingston’s writings, Young Jean Lee’s plays and productions, the transnational collaboration of choreographer Dean Moss and Yoon Jin Kim, and photography by Nikki S. Lee and Laurel Nakadate. In this study, I pose a set of questions about representation and identity formation: How do the writers and artists take up the theatre as both the principal site of investigation and the means with which to stage an interrogation of Asian American racialization? With these performances, what kinds of political possibilities and impossibilities does this aesthetic and temporal re-framing provide? How does theatricality imagine and enact alternative modes of identity and belonging? While each of the art objects archived in this study represents a discrete medium (literature, theatre, dance, photography), they all trouble the boundaries between media through their use of theatre and theatricality within their own given genre. By focusing on theatricality, I chart how separate media overlap in their engagements with a politics of inauthenticity through the aesthetics of (im)possibilities afforded by turns to the theatre. In rubbing up against the limits of representation both in their own media and in their borrowed theatrics, each of the works examined pushes the limits of racial representation and embraces disorientation’s potential for and in failure. Advisors/Committee Members: Ybarra, Patricia (Director), Schneider, Rebecca (Reader), Kim, Daniel (Reader), Lim, Eng Beng (Reader).

Subjects/Keywords: theatricality

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APA (6^th Edition):

Mok, C. Y. (2013). Disorientations: Theatricality and Contemporary Asian American Performance. (Doctoral Dissertation). Brown University. Retrieved from https://repository.library.brown.edu/studio/item/bdr:320609/

Chicago Manual of Style (16^th Edition):

Mok, Christine Y. “Disorientations: Theatricality and Contemporary Asian American Performance.” 2013. Doctoral Dissertation, Brown University. Accessed March 04, 2021. https://repository.library.brown.edu/studio/item/bdr:320609/.

MLA Handbook (7^th Edition):

Mok, Christine Y. “Disorientations: Theatricality and Contemporary Asian American Performance.” 2013. Web. 04 Mar 2021.

Vancouver:

Mok CY. Disorientations: Theatricality and Contemporary Asian American Performance. [Internet] [Doctoral dissertation]. Brown University; 2013. [cited 2021 Mar 04]. Available from: https://repository.library.brown.edu/studio/item/bdr:320609/.

Council of Science Editors:

Mok CY. Disorientations: Theatricality and Contemporary Asian American Performance. [Doctoral Dissertation]. Brown University; 2013. Available from: https://repository.library.brown.edu/studio/item/bdr:320609/

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