Critical Stages/Scènes critiques
The IATC journal/Revue de l'AICT – December/Décembre 2018: Issue No 18
Elias Edström* Abstract: Beijing opera is a form of traditional Chinese theater arts, which, together with other opera styles, has seen a steady decline in the past years. This highly refined and stylized way of performing faces challenges and many initiatives
Xi Muliang* and Annie Feng** Abstract: In the twenty-first century, a new generation of theatre artists has appeared on the stage of Chinese theatre. Compared with established theatre artists, the new generation is much bolder with its stage explorations. This article
Yan Zhao* Abstract: In the past forty years, the development of Chinese scenic design has been influenced by many forms of scenography from around the world. As time has progressed, numerous plays have reflected Chinese scenic designers’ tendency to actively search
Lin Chen* Abstract: Criticizing the “culinary theatre”[1] of his age, Brecht elaborated on the epic theatre and the Verfremdungseffect (V-effect), and constructively interpreted/misinterpreted Mei Lanfang’s jingju performance to back up his idea. Since the 1980s, xiqu[2] performances that interweave different
Bindi Kang* Abstract: In this paper, I intend to offer a critical reading of the invisible yet biased representation of the Chinese American in Stephen Karam’s play The Humans. I argue that this play still portrays Chinese Americans as threatening
Zhu Ning* Abstract: Chinese Xiqu, as a highly stylized and mature theatre form, has its own unique story-telling ways, acting style and vocal techniques. Its aesthetic is completely different from that of Western theatre. From the late nineteenth century, Western
Margareta Sörenson* Abstract: Sweden was late in launching an East Indian Company. The trends from the royal courts in Europe were already profoundly influential in Sweden, when the eighteenth century opened for a blossom in Chinese art and craft. Chinese
by Savas Patsalidis* Elizabeth Wong is a Los Angeles-based playwright and theatrical director acclaimed for her unique blend of comedy and social justice issues. Her most recent play Code of Conduct, about a soldier deployed to Guantanamo Prison, was named
Protestchöre – Zu einer neuen Ästhetik des Widerstands Stuttgart 21, Arabischer Frühling und Occupy in theaterwissenschaftlicher Perspektive (Stuttgart 21, the Arab Spring and the Occupy Movement from a Theatre Studies Perspective) By Stefan Donath 478 pp., Bielefeld, Germany: Transcript Publishing
Par Gérard Cogez 127 pp. Lausanne : Le théâtre de Lausanne Compte rendu de Selim Lander* « La vie n’est pas un spectacle. Une mer de douleur n’est pas un proscenium » – A. Césaire, Cahier d’un retour au pays natal Présenter le théâtre
