Gao Xingjian and Transcultural Chinese Theater:
A reclusive painter living in exile in Paris, Gao Xingjian found himself instantly famous when he became the first Chinese language writer to receive the Nobel Prize for Literature (2000). The author of the novel Soul Mountain, Gao is best known in his native country not as a visual artist or noveli...
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Honolulu
University of Hawaii Press
[2023]
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| Online-Zugang: | FAW01 FAB01 FCO01 FHA01 FKE01 FLA01 UPA01 UBG01 URL des Erstveröffentlichers |
| Zusammenfassung: | A reclusive painter living in exile in Paris, Gao Xingjian found himself instantly famous when he became the first Chinese language writer to receive the Nobel Prize for Literature (2000). The author of the novel Soul Mountain, Gao is best known in his native country not as a visual artist or novelist, but as a playwright and theater director. This important yet rarely studied figure is the focus of Sy Ren Quah's rich account appraising his contributions to contemporary Chinese and World Theater over the past two decades. A playwright himself, Quah provides an in-depth analysis of the literary, dramatic, intellectual, and technical aspects of Gao's plays and theatrical concepts, treating Gao's theater not only as an art form but, with Gao himself, as a significant cultural phenomenon. The Bus Stop, Wild Man, and other early works are examined in the context of 1980s China. Influenced by Stanislavsky, Brecht, and Beckett, as well as traditional Chinese theater arts and philosophies, Gao refused to conform to the dominant realist conventions of the time and made a conscious effort to renovate Chinese theater. The young playwright sought to create a "Modern Eastern Theater" that was neither a vague generalization nor a nationalistic declaration, but a challenge to orthodox ideologies. After fleeing China, Gao was free to experiment openly with theatrical forms. Quah examines his post-exile plays in a context of performance theory and philosophical concerns, such as the real versus the unreal, and the Self versus the Other. The image conveyed of Gao is not of an activist but of an intellectual committed to maintaining his artistic independence who continues to voice his opinion on political matters |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 01. Nov 2023) |
| Beschreibung: | 1 Online-Ressource (240 pages) |
| ISBN: | 9780824844905 |
| DOI: | 10.1515/9780824844905 |
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| spelling | Quah, Sy Ren Verfasser aut Gao Xingjian and Transcultural Chinese Theater Sy Ren Quah Honolulu University of Hawaii Press [2023] © 2004 1 Online-Ressource (240 pages) txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 01. Nov 2023) A reclusive painter living in exile in Paris, Gao Xingjian found himself instantly famous when he became the first Chinese language writer to receive the Nobel Prize for Literature (2000). The author of the novel Soul Mountain, Gao is best known in his native country not as a visual artist or novelist, but as a playwright and theater director. This important yet rarely studied figure is the focus of Sy Ren Quah's rich account appraising his contributions to contemporary Chinese and World Theater over the past two decades. A playwright himself, Quah provides an in-depth analysis of the literary, dramatic, intellectual, and technical aspects of Gao's plays and theatrical concepts, treating Gao's theater not only as an art form but, with Gao himself, as a significant cultural phenomenon. The Bus Stop, Wild Man, and other early works are examined in the context of 1980s China. Influenced by Stanislavsky, Brecht, and Beckett, as well as traditional Chinese theater arts and philosophies, Gao refused to conform to the dominant realist conventions of the time and made a conscious effort to renovate Chinese theater. The young playwright sought to create a "Modern Eastern Theater" that was neither a vague generalization nor a nationalistic declaration, but a challenge to orthodox ideologies. After fleeing China, Gao was free to experiment openly with theatrical forms. Quah examines his post-exile plays in a context of performance theory and philosophical concerns, such as the real versus the unreal, and the Self versus the Other. The image conveyed of Gao is not of an activist but of an intellectual committed to maintaining his artistic independence who continues to voice his opinion on political matters In English LITERARY CRITICISM / Asian / Chinese bisacsh Theater China Theater https://doi.org/10.1515/9780824844905 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Quah, Sy Ren Gao Xingjian and Transcultural Chinese Theater LITERARY CRITICISM / Asian / Chinese bisacsh Theater China Theater |
| title | Gao Xingjian and Transcultural Chinese Theater |
| title_auth | Gao Xingjian and Transcultural Chinese Theater |
| title_exact_search | Gao Xingjian and Transcultural Chinese Theater |
| title_exact_search_txtP | Gao Xingjian and Transcultural Chinese Theater |
| title_full | Gao Xingjian and Transcultural Chinese Theater Sy Ren Quah |
| title_fullStr | Gao Xingjian and Transcultural Chinese Theater Sy Ren Quah |
| title_full_unstemmed | Gao Xingjian and Transcultural Chinese Theater Sy Ren Quah |
| title_short | Gao Xingjian and Transcultural Chinese Theater |
| title_sort | gao xingjian and transcultural chinese theater |
| topic | LITERARY CRITICISM / Asian / Chinese bisacsh Theater China Theater |
| topic_facet | LITERARY CRITICISM / Asian / Chinese Theater China Theater |
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