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An Individual in Company: Quatre quatuors pour un week-end

  • Todd J. Coulter

Abstract

Following a similar structure as Chapter 4, the chapter begins with a textual consideration of how Gao complicates subjective identity in a seemingly more traditionally structured play. The chapter goes on to consider the political ramifications of Gao writing and producing his work at the Comédie Française, asking how a playwright who is so committedly against political identification works within such a structure. The chapter, again, looks at how Gao’s play creates a different aesthetic structure that demands a careful approach in production.

Keywords

Personal Pronoun Musical Piece National Theater Musical Composition Musical Structure 
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Notes

  1. 8.
    Gao Xingjian, “Towards a New Literature,” in World Literature Today 75, no. 1 (2001), 10.Google Scholar
  2. 10.
    Marion Thébaud, rev. of Quatre quatuors pour un week-end by Gao Xingjian, directed by Gao Xingjian, Théâtre du Vieux Colombier, Paris, Le Figaro, March 14, 2003, Culture section.Google Scholar
  3. 19.
    Martin Esslin, Theatre of the Absurd (New York: Vintage, 1961), 38.Google Scholar
  4. 26.
    Robert Migliorini, rev. of Quatre quatuors pour un week-end by Gao Xingjian, directed by Gao Xingjian, Théâtre du Vieux Colombier, Paris, La Croix, April 8, 2003.Google Scholar

Copyright information

© Todd J. Coulter 2014

Authors and Affiliations

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

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