Alternative theater in Taiwan: feminist and intercultural approaches
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Youngstown, NY
Cambria Press
2007
|
| Schlagworte: | |
| Online-Zugang: | Table of contents only Inhaltsverzeichnis |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | XXVII, 225 S. Ill. |
| ISBN: | 9781934043103 |
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| 245 | 1 | 0 | |a Alternative theater in Taiwan |b feminist and intercultural approaches |c Iris Hsin-chun Tuan |
| 264 | 1 | |a Youngstown, NY |b Cambria Press |c 2007 | |
| 300 | |a XXVII, 225 S. |b Ill. | ||
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| 500 | |a Includes bibliographical references and index | ||
| 648 | 4 | |a Geschichte 1900-2000 | |
| 650 | 4 | |a Geschichte | |
| 650 | 4 | |a Feminist theater |z Taiwan |x History |y 20th century | |
| 650 | 4 | |a Experimental theater |z Taiwan |x History |y 20th century | |
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| adam_text | Vii
Table of Contents
Foreword........................................................................................xix
Acknowledgments.........................................................................xxv
Chapter One: Introduction................................................................1
Chapter Two: The Historical Overview
of the Alternative Theaters in Taiwan.......................21
I. History of Taiwan Theater: The Little Theater
Movement in the 1980s......................................................21
i. Taiwan Theaters National Politics..............................23
ii. Interaction among Taiwan
and Other Countries in Asia...........................................24
II. History of the Spoken Drama............................................25
i. Drama as a Political Tool................................................26
ii. Li Man-quei, a Woman Pioneer.....................................27
iii. Little Theaters—a Force for Change............................27
lu. The Little Theater Movement...........................................28
IV. Little Theaters in the 1980s..............................................28
i. The Little Theaters from 1980 to 1984...........................30
viii Table of Contents
ii. Contemporary Legend Theater......................................33
iii. Stan Lai s Performance Workshop...............................34
V. The Little Theaters from 1985 to 1989..............................37
i. Godot Theater.................................................................38
ii. Hwan Xu Theater...........................................................39
iii. Left Bank Theater.........................................................42
VI. Little Theaters in the 1990s—
Postmodern Theaters.......................................................46
i. Critical Point Theater Phenomenon—
Homosexual Political...................................................47
ii. 425 Environmental Theater—Social
Protest by Puppets...........................................................47
VII. The Difference Between the First-phase
Experimental Theater and the Second-phase
Little Theater...................................................................49
VIII. Little Theaters of Taiwan The Western
Theories and Theaters...................................................51
i. Shakespeare s Wild Sisters Theater—Feminist
and Lesbian Theater.........................................................53
Table of Contents ix
ii. East and West.................................................................54
iii. Summary.......................................................................54
Chapter Three: Feminist Theater in Taiwan....................................57
I. Gender in Postcolonial Taiwan...........................................57
i. Performing Politics in the Legislative Yuan—
Politics as Performance..................................................59
ii. The Importation of Western Feminisms
to Taiwan.........................................................................64
II. Stage Productions in Taiwan.............................................67
III. Chou Hui-Ling s Creative Society...................................67
i. The Lesbian Subject as the Not... But .......................68
ii. Gender—Performative Act............................................ 71
iii. Man as Bearer of the Look / The Male Gaze
and the Representation of Women.................................72
IV. Wei Ying-chuan s Shakespeare s
Wild Sisters Group...........................................................78
i. Psychoanalytic Interpretive Strategy of Viewing............81
ii. Scopophilism Narcissism..........................................81
x Table of Contents
iii. Women—Fetishized as Objects
to be Looked At............................................................83
iv. Neo-femininity in l écriture feminine...........................89
V. Dai Chun-fang s Willow Dreams of Plum.........................98
i. Adapted from the Kunqu Peony Pavilion........................98
ii. Love and Miracles—Revival from Death......................99
iii. Performativity—Gender Masquerade.........................101
iv. Gender as a Social Gestus........................................... 101
VI. Wu Xin-chu s Slut Antigone...........................................101
i. Gender and Politics.......................................................101
ii. Feminist Postcolonial Discourse.................................102
iii. Intercultural Elements................................................104
VII. International Women s Theater Festival.......................107
i. Summary.......................................................................109
Chapter Four: Intercultural Theaters in Taiwan:
Interculturalism, Orientalism,
Performance Studies and Feminist
Post-colonialism....................................................Ill
Table of Contents xi
I. Intercultural Theater..........................................................113
i. Ariane Mnouchkine s Practice of Referring
to Asian Theater............................................................117
ii. Bertolt Brecht Misinterprets Classical
Chinese Acting..............................................................118
II. Richard Schechner s Oresteia in Taiwan.........................119
i. Schechner s The Culture of Choice ...........................119
ii. Schechner s Utopian Dream .....................................126
IE. Orientalism Tsou Oedipus..........................................133
i. The Oriental Women in Tsou Oedipus..........................134
ii. Liu Chin-Min s Medea on the Mountain.....................135
IV. Different Debates of the
Intercultural Critique.....................................................137
i. Eugenio Barba s Pre-expressive principles...............138
ii. Universal Performance................................................139
iii. Peter Brook s The Third Culture of Link ................140
vi. Rustom Bharucha vs Peter Brook...............................141
xii Table of Contents
V. East versus West...............................................................144
i. Feminized East in the West Male s Gaze......................145
ii. Indigenous Jocasta.......................................................146
iii. Orientalism: Masculine West versus
Feminine East..............................................................146
VI. Feminist Postcolonialism in
Peach Blossom Fan.........................................................148
i. A Room of One s Own— Female Roles
in Literature...............................................................148
ii. Woman—A Fiction of Women Created
by the Patriarchy......................................................149
iii. A Deconstructed Postmodern Musical...................149
iv. Gender is a Stylized Repetition of Acts..................150
v. Asia and Shakespeare—Two Monolithic
Constructions to be Appropriated.............................151
VII. Search for Extra-European
Intercultural Inspiration................................................152
Chapter Five: Western Traditions Framed by the East:
Stan Lai s Performance Workshop.........................155
I. Chinese Traditional Culture and Western Modernity
in Journey to the West........................................................156
Table of Contents xiii
i. Cultural Tensions..........................................................157
ii. Three Parallel Plots of the Journey
to the West.....................................................................157
iii. The Symbol of the Dragon.........................................161
II. National Identity and Cultural Identity
in Turn Back to the Other Shore......................................163
i. Memory, Imagination, and Reality...............................163
ii. Performance Spontaneously Represented
on Stage in Three Spaces..............................................164
iii. Identity in the Fictional World....................................165
iv. Compared with Oedipus Discovering
his Identity...................................................................168
IH. Western Traditions Embedded in Chinese Frames
in Pining... In Peach Blossom Land...............................170
i. Western Realism Props and Stanislavisky s
Psychological Acting Style...........................................171
ii. Chinese Comic Style...:...............................................171
iii. Inter-referentiality and Juxtaposition..........................175
IV. Dream, Life, History, and Memory in A Dream
Like a Dream...................................................................181
i. Life as a Cycle..............................................................181
xiv Table of Contents
ii. Reconciliation..............................................................183
iii. Theater in the Surround ...........................................187
iv. Tibetan Buddhism.......................................................192
v. Summary......................................................................196
vi. Future Work................................................................196
Chapter Six: Conclusion............................................................... 199
Bibliography.................................................................................205
Index.............................................................................................221
|
| adam_txt |
Vii
Table of Contents
Foreword.xix
Acknowledgments.xxv
Chapter One: Introduction.1
Chapter Two: The Historical Overview
of the Alternative Theaters in Taiwan.21
I. History of Taiwan Theater: The Little Theater
Movement in the 1980s.21
i. Taiwan Theaters National Politics.23
ii. Interaction among Taiwan
and Other Countries in Asia.24
II. History of the Spoken Drama.25
i. Drama as a Political Tool.26
ii. Li Man-quei, a Woman Pioneer.27
iii. Little Theaters—a Force for Change.27
lu. The Little Theater Movement.28
IV. Little Theaters in the 1980s.28
i. The Little Theaters from 1980 to 1984.30
viii Table of Contents
ii. Contemporary Legend Theater.33
iii. Stan Lai's Performance Workshop.34
V. The Little Theaters from 1985 to 1989.37
i. Godot Theater.38
ii. Hwan Xu Theater.39
iii. Left Bank Theater.42
VI. Little Theaters in the 1990s—
Postmodern Theaters.46
i. Critical Point Theater Phenomenon—
Homosexual Political.47
ii. 425 Environmental Theater—Social
Protest by Puppets.47
VII. The Difference Between the First-phase
Experimental Theater and the Second-phase
Little Theater.49
VIII. Little Theaters of Taiwan The Western
Theories and Theaters.51
i. Shakespeare's Wild Sisters' Theater—Feminist
and Lesbian Theater.53
Table of Contents ix
ii. East and West.54
iii. Summary.54
Chapter Three: Feminist Theater in Taiwan.57
I. Gender in Postcolonial Taiwan.57
i. Performing Politics in the Legislative Yuan—
Politics as Performance.59
ii. The Importation of Western Feminisms
to Taiwan.64
II. Stage Productions in Taiwan.67
III. Chou Hui-Ling's Creative Society.67
i. The Lesbian Subject as the "Not. But".68
ii. Gender—Performative Act. 71
iii. Man as Bearer of the Look / The Male Gaze
and the Representation of Women.72
IV. Wei Ying-chuan's Shakespeare's
Wild Sisters Group.78
i. Psychoanalytic Interpretive Strategy of Viewing.81
ii. Scopophilism Narcissism.81
x Table of Contents
iii. Women—Fetishized as Objects
to be Looked At.83
iv. Neo-femininity in l'écriture feminine.89
V. Dai Chun-fang's Willow Dreams of Plum.98
i. Adapted from the Kunqu Peony Pavilion.98
ii. Love and Miracles—Revival from Death.99
iii. Performativity—Gender Masquerade.101
iv. Gender as a Social Gestus. 101
VI. Wu Xin-chu's Slut Antigone.101
i. Gender and Politics.101
ii. Feminist Postcolonial Discourse.102
iii. Intercultural Elements.104
VII. International Women's Theater Festival.107
i. Summary.109
Chapter Four: Intercultural Theaters in Taiwan:
Interculturalism, Orientalism,
Performance Studies and Feminist
Post-colonialism.Ill
Table of Contents xi
I. Intercultural Theater.113
i. Ariane Mnouchkine's Practice of Referring
to Asian Theater.117
ii. Bertolt Brecht Misinterprets Classical
Chinese Acting.118
II. Richard Schechner's Oresteia in Taiwan.119
i. Schechner's "The Culture of Choice".119
ii. Schechner's "Utopian Dream".126
IE. Orientalism Tsou Oedipus.133
i. The Oriental Women in Tsou Oedipus.134
ii. Liu Chin-Min's Medea on the Mountain.135
IV. Different Debates of the
Intercultural Critique.137
i. Eugenio Barba's "Pre-expressive" principles.138
ii. Universal Performance.139
iii. Peter Brook's "The Third Culture of Link".140
vi. Rustom Bharucha vs Peter Brook.141
xii Table of Contents
V. East versus West.144
i. Feminized East in the West Male's Gaze.145
ii. Indigenous Jocasta.146
iii. Orientalism: Masculine West versus
Feminine East.146
VI. Feminist Postcolonialism in
Peach Blossom Fan.148
i. A Room of One's Own— Female Roles
in Literature.148
ii. Woman—A Fiction of Women Created
by the Patriarchy.149
iii. A Deconstructed Postmodern Musical.149
iv. Gender is a Stylized Repetition of Acts.150
v. Asia and Shakespeare—Two Monolithic
Constructions to be Appropriated.151
VII. Search for Extra-European
Intercultural Inspiration.152
Chapter Five: Western Traditions Framed by the East:
Stan Lai's Performance Workshop.155
I. Chinese Traditional Culture and Western Modernity
in Journey to the West.156
Table of Contents xiii
i. Cultural Tensions.157
ii. Three Parallel Plots of the Journey
to the West.157
iii. The Symbol of the Dragon.161
II. National Identity and Cultural Identity
in Turn Back to the Other Shore.163
i. Memory, Imagination, and Reality.163
ii. Performance Spontaneously Represented
on Stage in Three Spaces.164
iii. Identity in the Fictional World.165
iv. Compared with Oedipus' Discovering
his Identity.168
IH. Western Traditions Embedded in Chinese Frames
in Pining. In Peach Blossom Land.170
i. Western Realism Props and Stanislavisky's
Psychological Acting Style.171
ii. Chinese Comic Style.:.171
iii. Inter-referentiality and Juxtaposition.175
IV. Dream, Life, History, and Memory in A Dream
Like a Dream.181
i. Life as a Cycle.181
xiv Table of Contents
ii. Reconciliation.183
iii. Theater in the "Surround".187
iv. Tibetan Buddhism.192
v. Summary.196
vi. Future Work.196
Chapter Six: Conclusion. 199
Bibliography.205
Index.221 |
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| illustrated | Illustrated |
| index_date | 2024-07-02T17:36:53Z |
| indexdate | 2024-07-09T20:57:53Z |
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| isbn | 9781934043103 |
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| spelling | Tuan, Iris Hsin-chun Verfasser aut Alternative theater in Taiwan feminist and intercultural approaches Iris Hsin-chun Tuan Youngstown, NY Cambria Press 2007 XXVII, 225 S. Ill. txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Geschichte 1900-2000 Geschichte Feminist theater Taiwan History 20th century Experimental theater Taiwan History 20th century Little theater movement Taiwan History 20th century Theater (DE-588)4059702-7 gnd rswk-swf Taiwan (DE-588)4017875-4 gnd rswk-swf Taiwan (DE-588)4017875-4 g Theater (DE-588)4059702-7 s DE-604 http://www.loc.gov/catdir/toc/ecip0710/2007006468.html Table of contents only HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015659929&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Tuan, Iris Hsin-chun Alternative theater in Taiwan feminist and intercultural approaches Geschichte Feminist theater Taiwan History 20th century Experimental theater Taiwan History 20th century Little theater movement Taiwan History 20th century Theater (DE-588)4059702-7 gnd |
| subject_GND | (DE-588)4059702-7 (DE-588)4017875-4 |
| title | Alternative theater in Taiwan feminist and intercultural approaches |
| title_auth | Alternative theater in Taiwan feminist and intercultural approaches |
| title_exact_search | Alternative theater in Taiwan feminist and intercultural approaches |
| title_exact_search_txtP | Alternative theater in Taiwan feminist and intercultural approaches |
| title_full | Alternative theater in Taiwan feminist and intercultural approaches Iris Hsin-chun Tuan |
| title_fullStr | Alternative theater in Taiwan feminist and intercultural approaches Iris Hsin-chun Tuan |
| title_full_unstemmed | Alternative theater in Taiwan feminist and intercultural approaches Iris Hsin-chun Tuan |
| title_short | Alternative theater in Taiwan |
| title_sort | alternative theater in taiwan feminist and intercultural approaches |
| title_sub | feminist and intercultural approaches |
| topic | Geschichte Feminist theater Taiwan History 20th century Experimental theater Taiwan History 20th century Little theater movement Taiwan History 20th century Theater (DE-588)4059702-7 gnd |
| topic_facet | Geschichte Feminist theater Taiwan History 20th century Experimental theater Taiwan History 20th century Little theater movement Taiwan History 20th century Theater Taiwan |
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