David Henry Hwang
David Henry Hwang (Chinese: 黃哲倫; pinyin: Huáng Zhélún; born August 11, 1957) is an American playwright who has risen to prominence as the preeminent Asian American dramatist in the U.S.
He was born in Los Angeles, California and was educated at the Yale School of Drama and Stanford University. His first play was produced at the Okada House dormitory at Stanford and he briefly studied playwriting with Sam Shepard and María Irene Fornés.
He is the author of M. Butterfly (1988 Tony, Drama Desk, Outer Critics Awards, Pulitzer finalist), Golden Child (1998 Tony nomination, 1997 OBIE Award), FOB (1981 OBIE Award), The Dance and the Railroad (Drama Desk nomination), Family Devotions (Drama Desk Nomination), Sound and Beauty, and Bondage. His newest play, Yellow Face, which premiered at Los Angeles' Mark Taper Forum and New York's Public Theatre, won a 2008 OBIE Award and was a Finalist for the 2008 Pulitzer Prize. He wrote the scripts for the Broadway musicals Elton John & Tim Rice's Aida (co-author), Rodgers & Hammerstein's Flower Drum Song (2002 revival, 2003 Tony nomination), and Disney's Tarzan. His opera libretti include three works for composer Philip Glass, 1000 Airplanes on the Roof, The Voyage (Metropolitan Opera), and The Sound of a Voice; as well as Bright Sheng's The Silver River, Osvaldo Golijov's Ainadamar (two 2007 Grammy Awards) and Unsuk Chin's Alice In Wonderland (Opernwelt's 2007 "World Premiere of the Year"). Hwang penned the feature films M. Butterfly, Golden Gate, and Possession (co-writer), and also co-wrote the song "Solo" with Prince. A native of Los Angeles, Hwang serves on the Council of the Dramatists Guild. He attended Stanford University and Yale Drama School, and was appointed by President Clinton to the President's Committee on the Arts and the Humanities.
“Gallimard: It's... a pure sacrifice. He's unworthy, but what can she do? She loves him... so much. It's a very beautiful story.Song: Well, yes, to a Westerner.Gallimard: Exuse me?Song: It's one of your favotite fantasies, isn't it? The submissive Oriental woman and the cruel white man.”
“Tonight, I've finally learned to tell fantasy from reality. And, knowing the difference, I choose fantasy.”
“Gallimard: You have to do what I say! I'm conjuring you up in my mind!Song: Rene, I've never done what you've said. Why should it be any different in your mind?”
“It just hangs there. This little... flap of flesh. And there's so much fuss that we make about it. I think the reason we fight wars is because we wear clothes. Because no one knows–between the men, I mean–who has the bigger... weenie. So. if I’m a guy with a small one, I’m going to build a really big building or take over a really big piece of land or write a really long book so the other men don’t know, right? But see, it never really works, that's the problem. I mean, you conquer the country, or whatever, but you’re still wearing clothes, so there’s no way to prove absolutely whose is bigger or smaller. And that’s what we call a civilized society. The whole world run by a bunch of men with pricks the size of pins.”
“Consider it this way: what would you say if a blond homecoming queen fell in love with a short Japanese businessman? He treats her cruelly, then goes home for three years, during which time she prays to his picture and turns down marriage from a young Kennedy. Then, when she learns he has remarried, she kills herself. Now I believe you should consider this girl to be a deranged idiot, correct? But because it's an Oriental who kills herself for a Westerner–ah!–you find it beautiful.”
“Don't forget: there is no homosexuality in China!”
“Why, in the Peking Opera, are women's roles played by men?...Because only a man knows how a woman is supposed to act.”
“Sometimes I hate you, sometimes I hate myself, but always I miss you”
“Now I see -- we are always most revolted by the things hidden within us.”
“I'm happy. Which often looks like crazy.”
“As soon as a Western man comes into contact with the East -- he's already confused. The West has sort of an international rape mentality towards the East. ...Basically, 'Her mouth says no, but her eyes say yes.' The West thinks of itself as masculine -- big guns, big industry, big money -- so the East is feminine -- weak, delicate, poor...but good at art, and full of inscrutable wisdom -- the feminine mystique. Her mouth says no, but her eyes say yes. The West believes the East, deep down, wants to be dominated -- because a woman can't think for herself. ...You expect Oriental countries to submit to your guns, and you expect Oriental women to be submissive to your men.”