ABSTRACT This article examines an aesthetic of Asian American theater in the new millennium, focusing on Young Jean Lee’s Straight White Men (2014) as an identity politics play that counterintuitively remaps the predominant understanding of a race critique. Lee’s play emerges in a context in which Asian American theater has gradually de-emphasized racial identity to deconstruct essentialism. Meanwhile, amid the resurgence of post-racialism, some argue for sidelining race issues in discussions, considering it a resolved issue due to certain achievements by non-whites. As a result, race may appear muted in and around Asian American theater. This article’s analysis suggests that Straight White Men complicates this trend in Asian American theater by shifting focus from Asian characters to explore how individuals, particularly a white middle-class male protagonist, grapple with identity categories. Drawing on the methodology of negative epistemology, the article contends that Lee’s critical consciousness in the play introduces a concept of negativity, framing individuals through negation rather than affirmation, thus revealing the ideological environment that fosters “Otherness.” By interpreting Lee’s unique dramaturgy through a lens of negativity, this article offers her aesthetic as a strategic tool for Asian American playwrights and marginalized individuals to confront post-racial challenges and to find inspiration in representing identity in the new millennium.
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