Daphne Pi-Wei Lei


Professor, Drama
Claire Trevor School of the Arts

Ph.D., Tufts University, Drama

Phone: (949) 824-9439
Fax: (949) 824-3475
Email: dlei@uci.edu

University of California, Irvine

Mail Code: 2775
Irvine, CA 92697
Research Interests
Chinese Opera, Asian and Asian American theatre, Intercultural, transnational and Postcolonial performances, Ethnic, Gender and Diasporic Studies.
URL
Academic Distinctions
President, American Society for Theatre Research (ASTR, 2015-2018)
Appointments
Mellow Postdoctoral Fellow in Humanities, Drama Department, Stanford University (2000-2001)
Research Abstract
B.A. Soochow University, Taipei, Taiwan (English); M.A. California State University, Los Angeles (Theatre Arts); Mellon Postdoctoral Fellowship in Humanities, Stanford University (Drama). Interests and expertise include Asian, Asian American and Intercultural Theatre, Chinese Theatre and Film, Postcolonial and Diasporic Theatre, Gender, Race and Ethnicity. Published articles on the subjects of premodern Chinese theatre, gender and ethnicity, Chinese immigrant theatre, and Asian American theatre; taught at the Chinese Culture University (Taiwan), Tufts, and Stanford University; directed plays with Asian American casts at Harvard and Stanford; conducted playwriting workshop and mentored dance and theatre projects for Asian American students at Stanford and UCI. Currently on the advisory board of AATC (Asian American Theatre Company, San Francisco).
Publications
I. Books

•Alternative Chinese Opera in the Age of Civilization: Performing Zero (Palgrave Macmillan, 2011)

•Operatic China: Stage Chinese Identity Across the Pacific (Palgrave Macmillan, 2006)


II. Journal Articles

• Orphan à la Crouching Tiger." Contemporary Theatre Review 24:4 (2014), the online version (http://www.contemporarytheatrereview.org)
• “Interruption, Intervention, Interculturalism: Robert Wilson’s HIT Productions in Taiwan,” Theatre Journal 63, no. 4 (2011): 571-586.
• “The Public Life of Opera: a Conversation with Daphne Lei and Mary Zimmerman,” edited by Patrick Anderson. Theatre Survey 51, no. 2 (2010): 257-279.
• “Ruptures Within and Without: Pageantry – A Work in Progress by Denise Uyehara and Sri Susilowati.” Theatre Research International 35, no. 2 (2010): 188–192.
• “Blood-Stained Text in Translation: Tattooing, Bodily Writing and Performance of Chinese Virtue.” Anthropological Quarterly 82, no. 1 (2009): 99-127.
• "The Paradox between Materiality and Intangibility: Preservation and Development of Kunqu Oversea." Arts and Literature Studies, no. 6, 2009:: 78-86.
• "Face and Gender Metamorphosis: Beijing opera on the World Stage." Arts and Literature Studies) 208 (no. 9, 2007): 107-113.
• “Can You Hear Me? Female Voice and Cantonese Opera in the San Francisco Bay Area.” The Scholar & Feminist Online (Barnard Center for Research on Women, http://www.barnard.edu/sfonline/ps/lei.htm. 2003).
• “The Production and Consumption of Chinese Theatre in Nineteenth-Century California.” Theatre Research International 28, no 3 (October 2003), 289-302.
• “Wang Zhaojun on the Border: Gender and Intercultural Conflict in Premodern Chinese Drama.” Asian Theatre Journal 13, no. 2 (Fall 1996): 229-237.


III. Book Chapters:
• "Butterfly and Locust: Chinglish and Asian American Theatre in the Transnational Context." The Theatre of David Henry Hwang, edited by Esther Kim Lee. Methuen Drama, an imprint of Bloomsbury Publishing, forthcoming.
• “Dance Your Opera, Mime Your Words: Translate the Asian Body on the International Stage.” The Oxford Handbook of Dance and Theatre, edited by Nadine George. Oxford University Press, 2015.
• “Homeland under Attack: Looking for a New Theatrical Paradigm for Asian Americas.” In Asian Canadian Theatre: New Essays on Canadian Theatre, vol. 1, edited by Nina Lee Aquino and Ric Knowles. Toronto: Playwrights Canada, 2011, 33-48 (The collection won the Patrick B. O’Neill Award, the Canadian Association for Theatre Research for Outstanding Edited Collection, 2012).
• “Sung J. Rno.” In Dictionary of Literary Biography: Twentieth-Century American Drama, Fifth Series, edited by Garrett Eisler. Detroit: Gale Cengage Learning, 2008, vol. 341, 177-181.
• "The Virtual Chinatown and New Racial Formation: Performance of Cantonese Opera in the Bay Area." In Critical Theory and Performance, Revised and Enlarged Edition, edited by Janelle G. Reinelt and Joseph R. Roach. Ann Arbor: University of Michigan Press, 2007, 156-172.
• “An Ill-rehearsed Play: the First Sino-American Encounter on the Nineteenth-century Californian Stage". In The present and future of Chinese opera in Hong Kon), edited by Li Shaoen et al. Hong Kong: Chinese University of Hong Kong, 2005, 31-44.
• “Staging the Binary: Asian American Theatre in the Late Twentieth Century." In Blackwell Companion to Twentieth-Century American Drama, edited by David Krasner. Oxford, UK; Malden, MA: Blackwell Publishers, 2004, 301-317.
• “Envisioning New Borders for the Old China in Late Qing Fiction and Local Drama.” In Political Frontiers, Ethnic Boundaries, and Human Geographies in Chinese History, edited by Nicola Di Cosmo and Don Wyatt (London and New York: RoutledgeCurzon, an imprint of the Taylor and Francis Group, 2003), 373-397.
• "Biography of Sung J. Rno." In Asian American Playwrights: A Bio-Bibliographical Critical Sourcebook, edited by Miles X. Liu. Westport, CT: Greenwood Press, 2002, 292-297.
IV. Conference Proceedings

IV. Conference Proceedings

• “A Transparent Mask: ‘Chinese Opera’ on the Asian American Stage” (????:??????????????). In Asia-Pacific Arts Forum International Symposium Proceedings, edited by Lin Hui-Cheng et al. Taipei: Taipei National University of the Arts, 2006, 519-538. Article in both English and Chinese.


V. Encyclopedia Entries

• "Lai Sheng-ch'uan." In The Columbia Encyclopedia of Modern Drama. 2 vols., edited by Gabrielle H. Cody and Evert Sprinchorn. New York: Columbia University Press, 2007, 795-796.
• "Liu Ching-min." In The Columbia Encyclopedia of Modern Drama. 2 vols., edited by Gabrielle H. Cody and Evert Sprinchorn. New York: Columbia University Press, 2007, 827-828.


VI. Book Reviews

• Brown Boys and Rice Queens: Spellbinding Performance in the Asias by Eng-Beng Lim (New York: New York University Press, 2014). Theatre Survey, forthcoming.
• Mei Lanfang and the Twentieth-Century International Stage by Min Tian (Palgrave Macmillan, 2013). Journal for Asian Studies, forthcoming.
• Chinese Street Opera in Singapore by Tong Soon Lee (Urbana: University of Illinois Press, 2009). Theatre Research International 35.2 (2010): 210-211.
• A History of Asian American Theatre by Esther Kim Lee (Cambridge: Cambridge University Press, 2006). Theatre Survey 49, no. 2 (November 2008): 309-311.


VII. Performance Reviews

• “Rising from Ashes: A Few Thoughts on The Flowery Princess.” Hong Kong Opera Newsletter (Xianggang xiqu tongxun), vol. 17 (November 30, 2007), 4.
• “Peony Pavilion” (the Southern California tour 2006). Editor’s Choice. Association for Asian Performance Newsletter (Fall, 2006).


VIII. Dissertation
"Performing the Borders: Gender and Intercultural Conflicts in Premodern Chinese Drama (Ph.D Dissertation. Tufts University, 1999).
Grant
• DECADE Mentor Graduate Diversity Award (2012-2014) • CORCL Cultural Diversity Studies Faculty Research Grant (2012) • Pacific Rim Development Grant (2009) • Single Investigator Innovation Grant (2006) • Chancellor's Award for Excellence in Fostering Undergraduate Research (UROP, 2005)
Professional Society
ASTR, ATHE, IFTR, PSi
Last updated
10/19/2015