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Puro ArteFilipinos on the Stages of Empire$
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Lucy Mae San Pablo Burns

Print publication date: 2012

Print ISBN-13: 9780814744437

Published to NYU Press Scholarship Online: March 2016

DOI: 10.18574/nyu/9780814744437.001.0001

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PRINTED FROM NYU Press SCHOLARSHIP ONLINE (www.nyu.universitypressscholarship.com). (c) Copyright University of NYU Press Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in NYSO for personal use.date: 25 July 2021

“How in the Light of One Night Did We Come So Far?”

“How in the Light of One Night Did We Come So Far?”

Working Miss Saigon

Chapter:
(p.107) 4 “How in the Light of One Night Did We Come So Far?”
Source:
Puro Arte
Author(s):

Lucy Mae San Pablo Burns

Publisher:
NYU Press
DOI:10.18574/nyu/9780814744437.003.0004

This chapter extends the discussion of the Filipino/a performing body on the contemporary global stage through a focus on the casting phenomenon of Filipinos/as in the musical Miss Saigon. On this performing stage, the Filipino/a body transforms into an icon of intersecting colonial histories. The chapter mentions that Miss Saigon has so famously generated American theater's fraught history of yellowfacing and racist labor practices to attend to the ways in which labor, being, self, and affect are collapsed in the phenomenon of Filipinas in this musical industry. It asks the question of where the body of the performer ends and that of the character begins—a question that carries higher stakes for racialized performers. Additionally, the chapter argues that Filipino/a performers bear the weight of their own successes, and the interpretations of, expectations of, and impositions of their global audiences, the Philippine nation, the Filipino people, and each other.

Keywords:   Filipino performing body, contemporary global stage, casting, Filipinos, Miss Saigon, colonial histories, American theater, yellowfacing, racist labor practices, racialized performers

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