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Expressionism and Its Deformation in Contemporary Chinese Theatre


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.


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A A Doll’s Hourse, 5 A Dream Like a Dream 如夢之夢, 121-122 Absolute Signal 絕對信號, 16-17, 22-28, 34, 36, 39, 41, 46-47, 49, 89-90, 96, 101, 103-104, 127 An Enemy of the People, 5 An Exotic Encounter 艷遇, 96 An Obsesser with the Skeleton 骷髏的迷戀 者, 6 B Ba Jin 巴金, 29, 58 Bada Shanren 八大山人, 72 Bai Wei 白薇, 6 Bakhtin, M. M., 17, 20, 23, 26, 35-36, 116- 117, 120 Black Slaves Cry out to Heaven 黑奴籲天 錄, 4 Beckett, Samuel, 13, 22, 28-29, 36, 95 Bootleg Faust 盜版浮士德, 96 Brecht, Bertolt, 3, 8, 12-14, 34, 44, 50, 56- 60, 63, 66, 75, 125 C Cai Wenji 蔡文姬, 47 Cao Yu 曹禺, 6-12, 14, 20, 27, 40, 71 Camel Xiangzi 駱駝祥子, 44-45 Čapek, Karl, 13 Chen Chuhuai 陳楚懷, 6 Chen Kaige 陳凱歌, 33, 79 Chen Hongshou 陳洪綬 72 Chen Tijiang 陳體江, 56 Chen Zidu 陳子度, 78 Chicken Poets 像雞毛一樣飛, 96 China Dream 中國夢, 18, 53, 56-57, 60-67, 75-76, 96, 127 D Dearth of a Salesman, 48, 88-89, 118 Der Sturm (The Storm), 3 Der blaue Reiter (The Blue Rider), 3, 68 Diao Guangtan 刁光覃, 47 Die Brücke (The Bridge), 3, 68 Dynamo, 9 F Faustus 浮士德, 40 Fear and Misery in the Third Reich, 13 Faye, Chunfang Fei 費春放, 60 From Morn to Midnight, 3, 13 Fulin and His Wife 福林和他的婆姨, 78 G Gao Xingjian 高行健, 2, 13, 15-18, 21-25, 27-31, 33-37, 39-40, 46-67, 49, 51, 56, 76, 89, 95-96, 103, 113, 126-127 Galileo, 13 Glaspell, Susan, 4 Green Veil Over the Fields Again 田野又是 青紗帳, 39 Gu Kaizhi 顧愷之, 69 Guo Moruo 郭沫若, 6 H Hamlet 哈姆萊特, 40, 50 He Jingzhi 賀敬之, 28 Heat Outside 屋外有熱流, 16, 46 Hong...

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