Über die Autorinnen und Autoren

<p><b>Dan Kwong</b> is a veteran performance artist, writer, teacher, and visual artist.&#160; </p><p><b>Robert Vorlicky</b> is Professor of Theater at New York University, and author of <i>Act Like a Man: Challenging Identities in American Drama </i>and <i>Tony Kushner in Conversation</i>. </p>

Dan Kwong is a veteran performance artist, writer, teacher, and visual artist.

Robert Vorlicky is Professor of Theater at New York University, and author of Act Like a Man: Challenging Identities in American Drama and Tony Kushner in Conversation.

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From Inner Worlds to Outer Space

The University of Michigan Press

Contents

1. Introduction: "Flying Alone in Outer Spaces"................................................12. Secrets of The Samurai Centerfielder (1989).................................................11Tales from The Fractured Tao with Master Nice Guy (1991).......................................47COMMENTARY: "CENTERING"........................................................................733. Monkhood in 3 Easy Lessons (1993)...........................................................81Correspondence of a Dangerous Enemy Alien (1995)...............................................109COMMENTARY: "PERFORMING HISTORIES".............................................................1394. The Dodo Vaccine (1996).....................................................................151The Night The Moon Landed on 39th Street (1999)................................................179COMMENTARY: "INSIDE OUT".......................................................................2195. Excerpts from More Tales from the Locker Room (and other smelly places).....................229The Sword and The Chrysanthemum (1997).........................................................229Al the Barber (1997)...........................................................................231Station Wagons of Life (2000)..................................................................2346. Publicly Confidential: Conversations with Dan Kwong (1999-2003).............................245Appendix: Performance History..................................................................261Selected Bibliography..........................................................................269

Chapter One

(The stage is covered with a very large piece of fake grass [outdoor carpeting] in the fanlike shape of a baseball field. Home plate lays at the tip of the field closest to the audience. Spanning the width of the stage, a turquoise blue "outfield fence," made of felt cloth and approximately five feet high, stands at the far edge of the grass away from the audience. Huge white numerals 390 on the fence note the distance in feet from home plate to the centerfield fence. A large projection screen is just above and behind the centerfield fence.

On the far left side of the "field," a metal trash can lid is suspended vertically in the air by red and white bungee cords about six feet off the floor. Painted on the inside of the trash can lid (in a loose, sketchy style) is the face of an Asian man. Sitting on the "grass" below the trash can lid is a red metal pail filled with moist clay "baseballs."

On the far right side of the stage stands a tall, black, wooden "weapons rack" holding a Japanese sword in its black scabbard. Near the weapons rack is a large television on a tall stand.

The stage is dark. We hear suspenseful pizzicato strings plucking a tentative rhythm. They stop. A text slide is projected, written in cartoonish cutout letters:

overblown prod. presents:

Text slide fades out and strings begin again. Building in momentum, they sustain their rhythm like the ticking of a clock. A faint back light barely reveals the silhouette of the samurai centerfielder seated cross-legged on the grass at center stage, head bowed.

The SAMURAI CENTERFIELDER is dressed in elaborate costume-a baseball uniform covered with samurai "armor" and helmet.

His armor skirt is made from strips of grayish carpet padding hanging from a red waistband; his orange shoulder guards are slabs of thin foam rubber with bands of shiny decorative braiding glued on; shin guards of foam rubber wrapped in blue lam fabric; forearm guards made from the same foam padding decorated with black, yellow, and red electrical tape.

His headgear is a modified black bicycle helmet: a glistening metallic crescent moon shape is attached above the forehead area, looking like horns and anchored to the center of the helmet with a cutout baseball image; sharp angular black cheek guards frame his face, and a fringe of purple metallic cloth dangles around the back edges of the helmet. On the back of the helmet is the number 12 in small white numerals (in the baseball player's style of identifying equipment).

Beneath his armor, he wears snug-fitting gray baseball pants and a navy blue baseball jersey with the team name Giants and a small number 12 in red and white emblazoned on his chest. There is a large number 12 in red and white numerals on his back. A red long-sleeved undershirt and black Chinese shoes complete his colorful outfit.

As the next slide appears (in the same cartoonish lettering), we hear loud, low, ominous horns blaring out-like when the mighty overlord appears in an old samurai movie ...

SECRETS of the SAMURAI CENTERFIELDER

During this, a tight spotlight comes up, illuminating the SAMURAI CENTERFIELDER. He lifts his face and slowly scans the horizon, searching for potential danger.

Slide fades out as music continues in swirling, mysterious tones. SAMURAI CENTERFIELDER lowers his face into the darkness again. Final text slide appears, same style:

-tales to unboggle the mind ...

Text slide and music fade out.

In silence, the SAMURAI CENTERFIELDER sits in formal cross-legged samurai fashion, his right leg folded under him and his left leg folded in front. He is oblivious to the audience throughout this movement section.

He gradually reaches his right hand across his left thigh and grasps the handle of a baseball bat, hidden by his side. Very slowly he begins to slide it forward, the knob end towards the audience. He leans forward, preparing to rise. Suddenly he springs to his feet, drawing the bat like a sword and pointing it to the sky. Back to the rhythm of slow tai chi, he gracefully lowers it and extends it forward to the audience again. He begins taking very slow, meditative practice swings like a batter waiting for the pitch. Breathing deeply in rhythm with his movement, he repeats it twice then sets himself in a left-handed batter's stance, poised for action. He waits for an imaginary pitch. Suddenly his eyes widen, as if seeing the approaching ball.

(All in super slow motion.)

He coils like a spring, then extends his right foot to stride into the pitch. Shifting his weight forward onto the front foot, he begins powerfully uncoiling as he swings the bat around. An explosive moment as he connects with the imaginary ball. He follows through on his swing, eyes watching the ball soar into space. Still in slow motion, he begins to run in place-long, powerful strides that slowly begin to speed up until finally in a burst of actual running he charges at the audience. He stops in front of them, shocked. Embarrassed at being caught in the middle of his self-gratifying fantasy, the SAMURAI CENTERFIELDER speaks.)

Oh. It's you. Uh-nice to see you ...!

(He composes himself, quickly turning provocative and cagey.)

I suppose you heard there would be some secrets revealed here tonight? My secrets ...

(He turns on some Toshiro Mifune-arrogant-charm.)...