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The Bind of Representation: Performing and Consuming Hypersexuality in "Miss Saigon"

Celine Parreñas Shimizu
Theatre Journal
Vol. 57, No. 2 (May, 2005), pp. 247-265
Stable URL: http://www.jstor.org/stable/25069626
Page Count: 19
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Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
The Bind of Representation: Performing and Consuming Hypersexuality in "Miss Saigon"
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Abstract

This essay evaluates the predominance of race panic logic when addressing Asian female hypersexuality in representation in order to counter the equation of hypersexuality as racist, antifeminist and anti-Asian American. Both authorial and spectatorial encounters in later productions of the musical "Miss Saigon" (1989) describe a multifaceted dynamic of bondage within terms of injury and pleasure, in relations spurred by hypersexual representations. My study forges a theory of representation that accounts for the bind of being an Asian American actress and an Asian American female spectator, especially in encountering the production of hypersexuality for Asian women.

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