Expressionism and Its Deformation in Contemporary Chinese Theatre

Cover
Acknowledgements
Table of Contents
INTRODUCTION: After Cao Yu
CHAPTER ONE: Expressionism Then and Now
	Expressionism during the 1920s and 30s in China
	The Re-Introduction of Expressionism in Post-Maoist Theatre
	Six Dramatists in the Theatre of Expressionism
CHAPTER TWO: The Influx of Expressionism in Post-Maoist Theatre: Gao Xingjian’s Trilogy
	The Chronotope of Expressionist Time in Absolute Signal
	Infusing The Bus Stop with “Multivocality”
	Singing along with Wild Man’s Polyphony
CHAPTER THREE: Under the Web of Realism: Lin Zhaohua’s Uncle Doggie’s Nirvana
	A Ghost is on the Stage!
	Pingtan, to Comment and Pluck Simultaneously
CHAPTER FOUR: “Scream” from the Soul: Huang Zuolin’s Xieyi Theatre
	Realizing Xieyi Theatre in China Dream
	Xieyi as Chinese Expressionism
CHAPTER FIVE: Trans-Expressionism: Xu Xiaozhong’s Sangshuping Chronicles
	The Chorus Who Moves Us Away
	The Chronotope of Montage in the Chronicles
CHAPTER SIX: Emotion, Visuality, Subjectivity: Meng Jinghui’s Urban Play Rhinoceros in Love
	“Love Me Tender, Love Me True”
	Visuality as Eyesight
CHAPTER SEVEN: A White Camellia beyond Signs and Confusion: Stan Lai’s Secret Love in Peach Blossom Land
	Crossing the Boundaries
	Smirking at Semiotic Representation
POSTSCRIPT: Writing about Yourself
NOTES
INDEX OF NAMES AND TITLES