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light .” 49 In this way, any remaining glimpse of Woman’s identity as either/both actress and character is eventually negated. Woman does definitely not exist as an independent subject but rather as a stage prop, with neither voice nor agency of her own, like Man before her. Throughout the play, Woman

In: Dionysus on the Other Shore

Mother, who tries to console Young Girl, represents a voice outside of the chorus. She connects their predicament to their gender and ascribes to it a kind of natural guilt that recalls Beckett’s definition of tragedy as expounded in an early critical work, Proust (1931): Tragedy is not concerned with

In: Dionysus on the Other Shore

subconscious level, and may be derived from the relationship between character and cosmos. The tragic that inheres in material existence and that literature gives voice to, is, in Gao’s own words, less of a personal vision than of a condition ; a truth that the author limits himself to acknowledge as manifest

In: Dionysus on the Other Shore

evoking images of angst and terror and culminating in her transformation into a mere stage prop—a bunch of abandoned clothes signifying the fragments of herself, her mind emptied of any clear sense of identity. Under the influx of a Dionysian-like voice, the mysterious Traveller in Nocturnal Wanderer

In: Dionysus on the Other Shore

theatre historian Nicola Savarese has termed Eurasian Theatre. For my part, I have always been fascinated by Gao’s repeated refusals to be considered a “Chinese” writer and by his vigorous self-presentation of his work as “the voice of the individual.” 12 In this sense, I do not agree with Yeung when she

In: Dionysus on the Other Shore

where anguish is passed onto each member of the group and death is a constant, shared obsession, 81 it can be argued that Girl’s anxiety to voice her terror and share her trauma with Young Man and, later, with Middle-aged Man, marks the beginning of this tragic community. Here, death is not conquered

In: Dionysus on the Other Shore