Critical Stages/Scènes critiques
The IATC journal/Revue de l'AICT – December/Décembre 2018: Issue No 18
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
