The Experimental Aesthetics of Global Sinophone Theatre: The Present, The Absent, and The Avant-Garde

dc.contributor.advisorHarding, James M.en_US
dc.contributor.authorChu, Po-Hsienen_US
dc.contributor.publisherDigital Repository at the University of Marylanden_US
dc.contributor.publisherUniversity of Maryland (College Park, Md.)en_US
dc.description.abstractFocusing on the socio-political implications of Sinophone theatre network, this dissertation examines how the global circulation of Chinese-speaking theatre productions on the international stage challenges the conventional understanding of Chinese theatre as a pre-modern ethnic performance genre. My dissertation surveys a series of staged productions and dramatic plays produced by three artists whose works experiment with alternative manifestations of Chinese heritage that are positioned and performed outside of mainland China. These artists include Gao Xingjian (France), Edward Lam (Hong Kong), and Wu Hsing-kuo (Taiwan). The goal of this project is twofold. First, it asserts the importance of embodied knowledge to the fields of Chinese studies, Sinophone studies, and globalization studies, thus challenging the privileged position that textual knowledge has traditionally been granted. Second, through my discussion of the dramatic devices employed in the staged works of the above-mentioned theatre practitioners, I argue that the staging of alternative Chinese heritages highlights how “Chineseness” as an imagined category of cultural authenticity is destabilized by the bodily performance of things claimed to be Chinese that are in fact distinct from mainland traditions.en_US
dc.subject.pqcontrolledPerforming artsen_US
dc.subject.pqcontrolledTheater historyen_US
dc.subject.pquncontrolledAvant-Garde Performanceen_US
dc.subject.pquncontrolledSinophone Theatreen_US
dc.subject.pquncontrolledTheatrical Experimentationen_US
dc.titleThe Experimental Aesthetics of Global Sinophone Theatre: The Present, The Absent, and The Avant-Gardeen_US


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