Réalité historique, récit fictionnel

En s’appuyant sur les outils de « l’analyse des cadres » d’Erving Goffman et des « signifiants de cadrage » de Colin Counsell, cet article examine la manière dont Gao Xingjian, premier écrivain de langue chinoise lauréat du prix Nobel de littérature, représente la réalité de la Chine contemporaine dans son oeuvre dramatique. Deux scènes issues d’une des premières pièces de Gao, L’Autre rive, serviront à illustrer comment Gao utilise la technique du cadrage pour (dé / re) cadrer les notions de Chine et de sinité

Historical Reality, Fictional Narrative

With reference to Erving Goffman’s notion of “frame analysis” and Colin Counsell’s “framing signifiers,” this article explores how Gao Xingjian, the first Chinese-language Nobel laureate for literature, has represented the reality of contemporary China in his dramatic works. Focusing on two scenes in one of Gao’s early plays, The Other Shore, it aims to illustrate the way Gao uses the narrative technique of framing to inversely (un/re)frame the notions of China and Chineseness

Historical Reality, Fictional Narrative

With reference to Erving Goffman’s notion of “frame analysis” and Colin Counsell’s “framing signifiers,” this article explores how Gao Xingjian, the first Chinese-language Nobel laureate for literature, has represented the reality of contemporary China in his dramatic works. Focusing on two scenes in one of Gao’s early plays, The Other Shore, it aims to illustrate the way Gao uses the narrative technique of framing to inversely (un/re)frame the notions of China and Chineseness

Drawing from Grotowski and Beyond: Kuo Pao Kun’s Discourse on Audiences in Singapore in the 1980s

Much has been researched on Kuo Pao Kun’s multilingualism and multiculturalism. However, as one of one of the most important Asian dramatists, the analysis of Kuo’s discourse on audiences remains largely unexplored. There is a pressing need to understand the ways which theatre practitioners imagine audiences as it points to issues of subjectivity, audience participation and social engagement, especially in a neoliberal society like Singapore where people are often positioned as docile economic subjects. Among the many Asian and Western dramatists Kuo drew inspiration from, Jerzy Grotowski was pivotal. This essay seeks to address this gap by examining how the latter’s ideas was crucial to understanding how Kuo envisioned theatre and audiences alongside his artistic practice

Student theatre activism in Singapore in the 1950s

Abstract not available

Kuo Pao Kun and his theatre

As a dramatist, Kuo Pao Kun (1939–2002) has written, translated, adapted, directed and designed more than 40 theatre productions, many of which have introduced new dramaturgy and aesthetic experiences to the Singaporean audiences and beyond. He was also an inspiring teacher and a farsighted visionary, who founded various institutions for the cultivation of theatre practitioners, for the production of innovative theatrical pieces, for the incubation of artistic ideas, and for the facilitation of cross-cultural interactions and intellectual exchanges. This visual essay focuses on a selection of seminal works by Kuo, illustrating his creative journey spanning over three decades

Intellectual consciousness and the negation of the intellectual class : Kuo Pao Kun's pre-detention drama and its context

Kuo Pao Kun (1939–2002) is the most important dramatist in contemporary Singapore. His post-1980s works are extensively analysed but his artistic practices of his early years, though equally important, have rarely been discussed, partly due to the fact that relevant materials are available mainly in Chinese. This article provides a close examination of Kuo’s work in the 1960s and 1970s. Starting with a detailed delineation of his personal experience in relation to the development of his social and intellectual and consciousness, my discussion situates Kuo and his work within several layers of context, including modern Chinese cultural and intellectual thought and activism, especially the May Fourth movement, and the anti-colonial social and political activism of the Chinese-speaking intellectual community in Singapore from the 1950s

Réalité historique, récit fictionnel : la Chine dans le cadre du théâtre de Gao Xingjian

En s’appuyant sur les outils de «l’analyse des cadres » d’Erving Goffman et des «signifiants de cadrage » de Colin Counsell, cet article examine la manière dont Gao Xingjian, premier écrivain de langue chinoise lauréat du prix Nobel de littérature, représente la réalité de la Chine contemporaine dans son oeuvre dramatique. Deux scènes issues d’une des premières pièces de Gao, L’Autre rive, serviront à illustrer comment Gao utilise la technique du cadrage pour (dé / re) cadrer les notions de Chine et de sinité.Ren Quah Sy. Réalité historique, récit fictionnel : la Chine dans le cadre du théâtre de Gao Xingjian. In: Perspectives chinoises, n°111, 2010. pp. 15-25

Imagining Malaya, practising multiculturalism : the Malayan consciousness of Singapore Chinese intellectuals in the 1950s

Singapore in the 1950s had undergone a series of transitions, from 150 years of British colonial rule, followed by Japanese Occupation in the Second World War, to the anti-colonial independence movement, and presented a multifaceted, complex and active state in all social, political and cultural aspects. The Chinese intellectual circle as a community mainly comprised teachers, students, alumni, etc, of the Chinese middle schools established after the War, and intellectuals from the cultural sphere and press industry. This community played an important role in the anti-colonial resistance and movements throughout the 1950s. In the historical context of the struggle for autonomy and independence, the Chinese intellectuals in Singapore—originally as part of Malaya—were promoters and activists in the construction of the imagination of a Malayan nation, as part of the wave of post-colonial struggles and movements taking place in colonies around the world after the War. As such, how the Chinese intellectuals of that period embraced multiculturalism as a mean of practice, to participate in the imagination of a Malayan nation, is a topic worth revisiting

新加坡的“华语剧场”：语言与认同疆界的重新界定

Abstract not available