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Transcultural aesthetics in the play...

Coulter, Todd J.,

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Transcultural aesthetics in the plays of Gao Xingjian /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Transcultural aesthetics in the plays of Gao Xingjian // Todd J. Coulter.
作者:	Coulter, Todd J.,
面頁冊數:	1 online resource.
內容註:	Introduction: International Recognition and Confusion -- 1. Reactive Theatre -- 2. Physical Division:" Jingju" and Performance Theory -- 3. The Actor in Thirds: Gao's Theory of Performance -- 4. An Individual in the Void: "Au bord de la vie " -- 5. An Individual in Company:" Quatre quatuours pour un week-end " -- 6. An Individual in Night:" Ballade Nocturne" and Gao's Philosophical Woman -- Conclusion: The Obligation of Creation.
標題:	Aesthetics, Chinese. -
電子資源:	http://link.springer.com/10.1057/9781137440747
ISBN:	1137440740 (electronic bk.)

Transcultural aesthetics in the plays of Gao Xingjian /
Coulter, Todd J.,

Transcultural aesthetics in the plays of Gao Xingjian /Todd J. Coulter. - 1 online resource.

Introduction: International Recognition and Confusion -- 1. Reactive Theatre -- 2. Physical Division:" Jingju" and Performance Theory -- 3. The Actor in Thirds: Gao's Theory of Performance -- 4. An Individual in the Void: "Au bord de la vie " -- 5. An Individual in Company:" Quatre quatuours pour un week-end " -- 6. An Individual in Night:" Ballade Nocturne" and Gao's Philosophical Woman -- Conclusion: The Obligation of Creation.

Gao Xingjian has been lauded in many countries for his inventive use of Chinese culture in his paintings, plays, and cinema. In spite of this attempt to locate the aesthetics of his work within a Chinese frame, Gao denies that his current work participates in any notion of Chinese. However, Gao's work consciously draws on many aesthetic forms from both Chinese and French theatrical traditions. Absurdism and "jingju" (commonly known as Beijing Opera in American English) are the two immediate forms apparent in Gao's dramaturgy. This book traces the development of these forms and how the relate and interact in the French language plays of the Nobel Laureate. Gao Xingjian, through the unique blending and borrowing of these forms, creates an aesthetic of transcultural identity. Coulter approaches Gao's work from a cultural studies point of view, offering a new perspective on the work of this significant artist and his insistence that identity is a personal apolitical conception born in movement and flight.

ISBN: 1137440740 (electronic bk.)

Source: 767303Palgrave Macmillanhttp://www.palgraveconnect.comSubjects--Personal Names:

744404
Gao, Xingjian
--Translations into English.Subjects--Topical Terms:

928634
Aesthetics, Chinese.
Index Terms--Genre/Form:

2020027
Criticism, interpretation, etc.

LC Class. No.: PL2869.O128

Dewey Class. No.: 895.109/0052

Transcultural aesthetics in the plays of Gao Xingjian /
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505 0 $a Introduction: International Recognition and Confusion -- 1. Reactive Theatre -- 2. Physical Division:" Jingju" and Performance Theory -- 3. The Actor in Thirds: Gao's Theory of Performance -- 4. An Individual in the Void: "Au bord de la vie " -- 5. An Individual in Company:" Quatre quatuours pour un week-end " -- 6. An Individual in Night:" Ballade Nocturne" and Gao's Philosophical Woman -- Conclusion: The Obligation of Creation.
520 $a Gao Xingjian has been lauded in many countries for his inventive use of Chinese culture in his paintings, plays, and cinema. In spite of this attempt to locate the aesthetics of his work within a Chinese frame, Gao denies that his current work participates in any notion of Chinese. However, Gao's work consciously draws on many aesthetic forms from both Chinese and French theatrical traditions. Absurdism and "jingju" (commonly known as Beijing Opera in American English) are the two immediate forms apparent in Gao's dramaturgy. This book traces the development of these forms and how the relate and interact in the French language plays of the Nobel Laureate. Gao Xingjian, through the unique blending and borrowing of these forms, creates an aesthetic of transcultural identity. Coulter approaches Gao's work from a cultural studies point of view, offering a new perspective on the work of this significant artist and his insistence that identity is a personal apolitical conception born in movement and flight.
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