Revisiting theatre of the minoritarian in neoliberalism: The Embodied Memories in Denise Uyehara’s and Dan Kwong’s Auto-performances

In a neoliberal multicultural landscape, minoritarian artists tend to, deploying various forms of self-media or virtual platforms, create their artistic spaces for identitarian performances. While has been more and entrepreneurially dominant, the aura theatrical performance self seems to be now obsolete. Moreover, in view neoliberalism as an increasing hegemony that insidiously marginalized theaters performances (such New WORLD theater) past decade U.S., “minoritarian subjects” (to borrow José Esteban Muñoz’s term) are experiencing predicament which they becoming visually contingent owing representational violence. With urge reviving such distant aura, this paper revisits solo Denise Uyehara Dan Kwong staged Highway Performance Space, generative site what Meiling Cheng calls “heterolocus”. By exploring auto-performance genre, examines Diana Taylor “embodied memories” works Kwong, further argues these should not simply understood individual aesthetic political expression, but also rendered powerful epistemological repertoire perform cultural politics communal Asian American theater.