Show Less

Expressionism and Its Deformation in Contemporary Chinese Theatre

Series:

Yuwen Hsiung

Expressionism and Its Deformation in Contemporary Chinese Theatre provides both rigorous readings of dramatic works as well as a historical overview of Chinese theatre from the 1980s to the present. Expressionism becomes a discursive locus to be incorporated and even transformed during a critical phase in the modernization of Chinese drama during the post-Maoist era.
Six leading Chinese dramatists (Gao Xingjian, Lin Zhaohua, Huang Zuolin, Xu Xiaozhong, Meng Jinghui, and Stan Lai) are clear representatives of opening up a new world of modern Chinese drama. They embody each of the major phases of the adoption, deformation, and multicultural infusion of Expressionism in the development of Chinese dramatic modernization. Approaching their dramatic works from multiple perspectives, including expressionist vision and techniques, comparative aesthetics, Bakhtinian chronotope and heteroglossia, semiotics, «psychic interiority», and concluding with Lu Xun’s definition of Expressionism as «to write a good deal about yourself», Chinese dramatists’ enthusiasm for Expressionism is not just an artistic rejoinder to the spiritual aspirations of life in a time of rapid industrialization and modernization but also a coming-to-terms with the ideological and aesthetic conflicts between different dramatic traditions.
Expressionism and Its Deformation in Contemporary Chinese Theatre is the first scholarly book to explore the deep and intricate relationship between Expressionism and contemporary Chinese drama, attempting to assume the critical task of challenging these dramatists while delineating the contours of the most recent trends of Chinese theatre. This book could situate itself within the Chinese scholarly and theatrical contexts for English readers as it is an accessible text for both undergraduate students and graduates and scholars.

Prices

Show Summary Details
Restricted access

Table of Contents

Extract

Introduction: After Cao Yu ................................................................................ 1 Chapter One: Epressionism Then and Now ........................................................ 3 Expressionism during the 1920s and 30s in China ...................................... 4 The Re-Introduction of Expressionism in Post-Maoist Theatre ................ 12 Six Dramatists in the Theatre of Expressionism ....................................... 15 Chapter Two: The Influx of Expressionism in the Post-Maoist Theatre – Gao Xingjian’s Trilogy .................................................................................... 21 The Chronotope of Expressionist Time in Absolute Signal ....................... 23 Infusing The Bus Stop with Multivocality ................................................ 27 Singing along with Wild Man’s Polyphony .............................................. 33 Chapter Three: Under the Web of Realism – Lin Zhaohua’s Uncle Doggie’s Nirvana ........................................................... 39 A Ghost is on the Stage! ........................................................................... 42 Pingtan, to Comment and Pluck Simultaneously ...................................... 47 Chapter Four: “Scream” from the Soul – Huang Zuolin’s China Dream .......................................................................... 55 Realizing Xieyi Theatre in China Dream .................................................. 56 Xieyi as Chinese Expressionism ............................................................... 68 Chapter Five: Trans-Expressionism – Xu Xiaozhong’s Sangshuping Chronicles ........................................................ 75 The Chorus Who Moves us Away ............................................................ 82 The Chronotope of Montage in the Chronicles ......................................... 87 Chapter Six: Emotion, Visuality, Subjectivity – Meng Jinghui’s Rhinoceros in Love ................................................................. 93 “Love Me Tender, Love Me True” ........................................................... 96 Visuality as Eyesight .............................................................................. 102 Chapter Seven: A White Camellia beyond Signs Confusion – Stan Lai’s Secret Love in Peach Blossom Land .............................................. 109 Crossing the Boundaries ......................................................................... 116 Smirking at Semiotic Representation ..................................................... 118 Postscript: Writing about Yourself ................................................................. 125 Notes .............................................................................................................. 129 Index of Names and Titles .............................................................................. 143

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.