Critical Stages/Scènes critiques
The IATC journal/Revue de l'AICT – December/Décembre 2018: Issue No 18
Peng Tao* Since Mr. Mei Lan-fang visited America and the Soviet Union with his theatre troupe (in 1930 and in 1935 respectively), bringing Chinese Jingju art to the West and communicating with some great European theatre artists such as Stanislavski,
by Lin Xiyue*, Peng Tao**, Meng Danfeng*** Lin Zhaohua was born in Tianjin, in 1936. He graduated from the Performance Department of Central Academy of Drama, in 1961, and was assigned to the Beijing People’s Art Theatre, where he experienced
by Savas Patsalidis* Lissa Tyler Renaud first interviewed Stan Lai for Critical Stages/Scènes critiques in 2010. Nine years later, and with the occasion of the special issue on contemporary Chinese theatre, we felt that this was an appropriate moment to
by Lissa Tyler Renaud* Ding Yiteng calls himself “a Chinese theatre director and actor,” but the press has called him “the shining gold . . . in the Chinese theatre bog.” Even this commendation barely hints at the creative life
Lin Kehuan* Abstract: Chinese theatre has gone through a drastic period of free development and exploration since 1980. Many new phenomena and tendencies have occurred during those years. The article is a panoramic summary of this productive and varied trajectory.
Fu Jin* Abstract: Chinese traditional theatre matured in the twelfth century. In modern times, its accepted name is Xiqu, which refers to Chinese traditional theatre after 1950. The present article focuses on the status quo of Xiqu in contemporary China
Min Zhu* Abstract: This paper examines the motivations and characteristics embodied in Chinese contemporary dance in the context of modernization and globalization. The question discussed here is: if the intention of Chinese contemporary dance is to represent the lived experience
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
