Transmotion, also visionary motion, according to Christy Stanlake in his depiction of Native American plays "refers to a critical awareness maintained by individuals with regard to the construction of their identities by self and others" (202). The transmotion, containing both mythic motion and material motion, is fast speed and when one looks again, "it's gone" (289) as Diane Glancy has described. The transmotion aims at "resist[ing] closure" (Stanlake 202), "referencing the dynamic ... relationship" (203), and even "crossing realms of being" (203).
This paper intends to analyze the transmotion in the longest indigenous theater, Spiderwoman Theater's Sun, Moon and Feather. In Sun, Moon and Feather, various dramaturgical skills are employed to confuse the time/space zone. In addition, the three sisters change their roles from two famous players in Rose Marie: Jeanette MacDonald (309) and Nelson Eddy (310), "the only grandmother now" (313) to one that "won't be remembered either" (313). The transmotive performance also proffers a vision of a trickSTAR, a term coined by Jurich who puts and capitalizes "star" as an emphasis of a female trickster. To sum up, the transmotive analysis of Sun, Moon and Feather"[embodies] contradictions all possibilities, ... dismantles those imaginative constructions that limit human possibility and freedom... in a process of ‘continually breaking apart and re-attaching in new combination" (Owen 231).
Yi-jou Lo, Wenzao Ursuline College of Languages, Taiwan
This paper is part of the LibrAsia2013 Conference Proceedings (View)
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