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Performing Lost Politics: Yijing yisheng Yibusheng (Ibsen in One Take) (2012) and Wang Chong's Double-Coded New Wave Theatre

Performing Lost Politics: Yijing yisheng Yibusheng (Ibsen in One Take) (2012) and Wang... <p>Abstract:</p><p>This article examines Wang Chong&apos;s 2012 production Yijing yisheng Yibusheng (Ibsen in One Take) as an example of his Xinlangchao xiju (New Wave Theatre). Subscribing to the theory of postdramatic theatre, Wang sees the political potential of juxtaposing reality with virtuality. I argue that <i>Ibsen in One Take</i>, though laudable in its innovations, fails to effectively articulate Wang&apos;s political intervention. In terms of rereading Ibsen, the production undermines the Norwegian playwright&apos;s legacy in Chinese gender politics. Meanwhile, censorship and the tension between the postdramatic and the political overshadow the production&apos;s formal innovations. Nevertheless, as a rising director in contemporary Chinese theatre, Wang merits scholarly attention and his works are emblematic of the trend of international collaboration.</p> http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Performing Lost Politics: Yijing yisheng Yibusheng (Ibsen in One Take) (2012) and Wang Chong&apos;s Double-Coded New Wave Theatre

Asian Theatre Journal , Volume 37 (2) – Oct 13, 2020

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Publisher
University of Hawai'I Press
Copyright
Copyright © The University of Hawai'i Press.
ISSN
1527-2109

Abstract

<p>Abstract:</p><p>This article examines Wang Chong&apos;s 2012 production Yijing yisheng Yibusheng (Ibsen in One Take) as an example of his Xinlangchao xiju (New Wave Theatre). Subscribing to the theory of postdramatic theatre, Wang sees the political potential of juxtaposing reality with virtuality. I argue that <i>Ibsen in One Take</i>, though laudable in its innovations, fails to effectively articulate Wang&apos;s political intervention. In terms of rereading Ibsen, the production undermines the Norwegian playwright&apos;s legacy in Chinese gender politics. Meanwhile, censorship and the tension between the postdramatic and the political overshadow the production&apos;s formal innovations. Nevertheless, as a rising director in contemporary Chinese theatre, Wang merits scholarly attention and his works are emblematic of the trend of international collaboration.</p>

Journal

Asian Theatre JournalUniversity of Hawai'I Press

Published: Oct 13, 2020

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