Advertisement

Introduction: International Recognition and National Confusion

  • Todd J. Coulter

Abstract

The introduction tackles the term transcultural and discusses how it is employed in the book. Because the term comes from Sy Ren Quah’s book, I take time to discuss Quah’s argument and how my work relates to his. Specifically, my work looks at his French-language plays and not his Chinese language work. The introduction goes on to show how Gao uses language to shift subjectivity and hence identity in his plays and concludes with a succinct biographical sketch of Gao and his career as a playwright and artist.

Keywords

Nobel Prize Communist Party Chinese Communist Party Cultural Revolution International Recognition 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Notes

  1. 1.
    Gao Xingjian, Soul Mountain, translated by Mabel Lee (New York: Harper Collins, 2000).Google Scholar
  2. 2.
    Gao Xingjian, One Man’s Bible, translated by Mabel Lee (New York: Harper Collins, 2000).Google Scholar
  3. 3.
    Sy Ren Quah, Gao Xingjian and Transcultural Chinese Theatre (Honolulu: University of Hawai’i Press, 2004).Google Scholar
  4. 9.
    Gao Xingjian, “Le Témoinage de la littérature,” in Le Témoinage de la littérature (Paris: Seuil, 2004), 136.Google Scholar
  5. 12.
    Patrice Pavis, Theatre at the Crossroads (London: Routledge, 1992), 4.CrossRefGoogle Scholar
  6. 17.
    Gao Xingjian, “Quatre quatuors pour un week-end,” in Gao Xingjian, Theater 1 (Paris: Lansman, 2000), 145. Translation mine.Google Scholar
  7. 18.
    Mabel Lee, “Pronouns as Protagonists: On Gao Xingjian’s Theories of Narration,” in Soul of Chaos: Critical Perspectives on Gao Xingjian, Kwok Kan-Tam (ed.) (Hong Kong: Chinese University Press, 2001), 236–256.Google Scholar
  8. 20.
    Gao Xingjian, Le Témoinage de la littérature (Paris: Seuil, 2004), 13. Translation mine.Google Scholar
  9. 28.
    Gao Xingjian, Au plus près du réel (Paris: Editions de l’aube, 1997), 11.Google Scholar
  10. 33.
    Tam Kwok-Kan, “Drama of Paradox: Waiting as Form and Motif,” Soul of Chaos, edited by Kwok-Kan Tam (Hong Kong: Chinese University Press, 2001), 44.Google Scholar
  11. 36.
    Huang Zuolin, “On Mei Lanfang and Chinese Traditional Acting,” in Chinese Theories of Theater and Performance, edited by Faye Chunfang Fei (Ann Arbor, MI: University of Michigan Press, 2002), 157.Google Scholar
  12. 37.
    Haiping Yan, “Theatricality in Classical Chinese Drama,” in Theatricality, edited byTracy Davis and Thomas Postlewait (Cambridge, MA: Cambridge University Press, 2003), 84.Google Scholar
  13. 38.
    Gao Xingjian, Ballade Nocturne, translated and with preface by Claire Conceison, The Cahiers Series (Lewes, UK: Sylph Editions, 2010).Google Scholar

Copyright information

© Todd J. Coulter 2014

Authors and Affiliations

  • Todd J. Coulter
    • 1
  1. 1.Colby CollegeUSA

Personalised recommendations