Dinh Thi Nguyen,Director of the Hanoi Academy of Theatre and Cinema,introduces his theory of Internationalisation in Vietnamese theatre.He suggests that traditional performance forms are always being intermingled with...Dinh Thi Nguyen,Director of the Hanoi Academy of Theatre and Cinema,introduces his theory of Internationalisation in Vietnamese theatre.He suggests that traditional performance forms are always being intermingled with foreign performance forms,with intercultural mixing of forms creating“internationalisation”.In this paper the development of Vietnamese theatre forms are examined through the lens of internationalisation.Starting with Cheo and Tuong,this paper follows the ways in which adaptations and absorption of introduced forms of theatre have shaped traditional forms developing into the contemporary theatre practices seen today in modern Vietnam.展开更多
Jingju actor and director Wu Hsing-kuo＇s （吴兴国） Lear Is Here （2001） is a 90-minute solo performance adapted from Shakespeare＇s King Lear and performed injingju style. In this performance, he alternately perfor...Jingju actor and director Wu Hsing-kuo＇s （吴兴国） Lear Is Here （2001） is a 90-minute solo performance adapted from Shakespeare＇s King Lear and performed injingju style. In this performance, he alternately performs 10 male and female characters including himself injingju role types ofsheng （male）, dan （female）,jing （painted face）, mo, and chou （clown） in search 0f dual identities. This paper will investigate Wu＇s performance in Lear Is Here from three directions： First, how Wu subtly combines Shakespearean dramatic tension and psychological complex, his versatilejingju performing styles, and Brechtian alienation effect in developing his unique artistic flair？ What are at stake of such an eclectic performance？ Second, in the rooting and re-routing of both Shakespearean plays andjingju acting style where Wu Hsing-kuo meets King Lear, how Wu articulates the meticulous details of both source culture and target culture while at once extracting them out of context to interweave and re-articulate them into an eclectic intercultural theater？ Third, investigating the cultural exchange, bicroleurs, audience reception, and production mode of the work, the author will try to do away with the ＂authenticity＂ or ＂representativeness＂ of either the East or the West, but explore the possibilities of the hybrid theater in search of alternative aesthetic and emerging performance genre展开更多
By using tai-yu （min-nan-hua, Taiwan Residents local language） to stage William Shakespeare＇s Macbeth, Po-shen Lu produced an experimental performance in the southern part of Taiwan in 2003. When producing Antigone...By using tai-yu （min-nan-hua, Taiwan Residents local language） to stage William Shakespeare＇s Macbeth, Po-shen Lu produced an experimental performance in the southern part of Taiwan in 2003. When producing Antigone in 2001, Lu was challenged by his critics in three aspects： （1） the tradition of tai-yu theatre of Tainan Jen Theatre and that of Western plays, （2） audience reception in Taiwan, and （3） the advantages and disadvantages of integrating tai-yu with Western classic texts. In spite of these criticisms on his theatrical productions, Lu has continued helping Tainan Jen Theatre transform into a professional theatrical troupe since he became an artistic director in 2002. By analyzing how and why Lu staged his The Witch Sonata--Psalm of Macbeth in the socio-historical context of intercultural adaptation, I propose to re-revaluate Lu＇s artistic contribution to the theatrical development in the southern part of Taiwan. I would argue that Lu is not only challenging Taiwan Residents reading of Shakespeare but also exploring the possibilities of tai-yu＇s theatricality, in a view to bringing new life to Taiwan＇s intercultural theatre.展开更多
文摘Dinh Thi Nguyen,Director of the Hanoi Academy of Theatre and Cinema,introduces his theory of Internationalisation in Vietnamese theatre.He suggests that traditional performance forms are always being intermingled with foreign performance forms,with intercultural mixing of forms creating“internationalisation”.In this paper the development of Vietnamese theatre forms are examined through the lens of internationalisation.Starting with Cheo and Tuong,this paper follows the ways in which adaptations and absorption of introduced forms of theatre have shaped traditional forms developing into the contemporary theatre practices seen today in modern Vietnam.
文摘Jingju actor and director Wu Hsing-kuo＇s （吴兴国） Lear Is Here （2001） is a 90-minute solo performance adapted from Shakespeare＇s King Lear and performed injingju style. In this performance, he alternately performs 10 male and female characters including himself injingju role types ofsheng （male）, dan （female）,jing （painted face）, mo, and chou （clown） in search 0f dual identities. This paper will investigate Wu＇s performance in Lear Is Here from three directions： First, how Wu subtly combines Shakespearean dramatic tension and psychological complex, his versatilejingju performing styles, and Brechtian alienation effect in developing his unique artistic flair？ What are at stake of such an eclectic performance？ Second, in the rooting and re-routing of both Shakespearean plays andjingju acting style where Wu Hsing-kuo meets King Lear, how Wu articulates the meticulous details of both source culture and target culture while at once extracting them out of context to interweave and re-articulate them into an eclectic intercultural theater？ Third, investigating the cultural exchange, bicroleurs, audience reception, and production mode of the work, the author will try to do away with the ＂authenticity＂ or ＂representativeness＂ of either the East or the West, but explore the possibilities of the hybrid theater in search of alternative aesthetic and emerging performance genre
文摘By using tai-yu （min-nan-hua, Taiwan Residents local language） to stage William Shakespeare＇s Macbeth, Po-shen Lu produced an experimental performance in the southern part of Taiwan in 2003. When producing Antigone in 2001, Lu was challenged by his critics in three aspects： （1） the tradition of tai-yu theatre of Tainan Jen Theatre and that of Western plays, （2） audience reception in Taiwan, and （3） the advantages and disadvantages of integrating tai-yu with Western classic texts. In spite of these criticisms on his theatrical productions, Lu has continued helping Tainan Jen Theatre transform into a professional theatrical troupe since he became an artistic director in 2002. By analyzing how and why Lu staged his The Witch Sonata--Psalm of Macbeth in the socio-historical context of intercultural adaptation, I propose to re-revaluate Lu＇s artistic contribution to the theatrical development in the southern part of Taiwan. I would argue that Lu is not only challenging Taiwan Residents reading of Shakespeare but also exploring the possibilities of tai-yu＇s theatricality, in a view to bringing new life to Taiwan＇s intercultural theatre.
