ABSTRACT
This chapter shows that the work of "pioneers" as case studies to examine the ways that foreign female theatre artists, unbound by conventional expectations that might hinder Asian women, have asserted themselves in ways that local women might not. It considers whether the interventions have helped to change attitudes and create more opportunities for Asian female performers. One question that might arise at the outset is why Western women would seek to enter the doubly foreign world of an Asian theatre tradition performed by members of the opposite sex. Of course, there are a number of other significant foreign female practitioners of traditional Asian performing arts – for example, Hanne de Bruin, from the Netherlands, co-director of Kattakaiku Sangam in Tamil Nadu; and Emiko Susilo from California, who co-directs Gamelan Cudamani in Pengosekan, Bali. Both Cristina Formaggia and Rebecca Teele proved themselves as performers in traditionally male arts, and provide very public models that demonstrate women's ability.
