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Books
Available
Publication year: 2008
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| Series: | Sinica Leidensia, 87 |
| ISBN-13 (i)The ISBN (International Standard Book Number) has been changed from 10 to 13 digits on 1 January 2007: | 978 90 04 16828 2 |
| ISBN-10: | 90 04 16828 1 |
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| Cover: | Hardback |
| Number of pages: | viii, 248 pp. |
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| List price: | € 89.00 / US$ 132.00 |
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Table of contents
INTRODUCTION
CHAPTER ONE CHINESE AVANT-GARDE: NEW TRENDS IN CHINESE EXPLORATORY AND EXPERIMENTAL THEATRE CHAPTER TWO ACTOR IN THE SPACE OF ILLUSION AND ANTI-ILLUSION CHAPTER THREE NEW NARRATIVE STRATEGIES CHAPTER FOUR FROM REALISM TO SUR-REALISM: POETICS OF THE ABSURD AND THE GROTESQUE CHAPTER FIVE BETWEEN LIFE AND DEATH, REALITY AND DREAM: TOWARDS AN ONEIRIC IMAGINATION CHAPTER SIX IN SEARCH OF THE TOTAL THEATRE
BIBLIOGRAPHY INDEX
Readership
All those interested in Chinese contemporary and traditional theatre,comparative literature and drama, aesthetics of the avant-garde art and theatre, as well as sinologists and theatre specialists.
About the author(s)
Izabella Łabędzka, Ph.D. (1990) in Comparative Literature, Adam Mickiewicz University, is Professor of Chinese Studies and Theatre Studies at Adam Mickiewicz University in Poznań, Poland, specializing in Chinese and comparative drama. She has published on contemporary Chinese theatre, comparative literature and drama.
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This book argues that Gao Xingjian's Idea of Theatre can only be explained by his broad knowledge and use of various Chinese and Western theatrical, literary, artistic and philosophical traditions.
The author aims to show how Gao's theories of the theatre of anti-illusion, theatre of conscious convention, of the 'poor theatre' and total theatre, of the neutral actor and the actor - jester - storyteller are derived from the Far Eastern tradition, and to what extent they have been inspired by 20th century Euro-American reformers of theatre such as Antonin Artaud, Bertolt Brecht, Vsevolod Meyerhold, Jerzy Grotowski and Tadeusz Kantor. Although Gao' s plays and theatre form the major subject, this volume also pays ample attention to his painting and passion for music as sources of his dramaturgical strategies.
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