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Journey(s) to the East—travels, trajectories, and transnational Chinese theatre(s)

机译:东方之旅,旅行,轨迹和跨国中国戏院

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The notion of transnationalism represents a key theoretical paradigm in most contemporary studies of Chinese-language literature, film, and the visual arts. Scholarship in Chinese-language theatre, however, is still largely shaped by national or mono-regional patterns of analysis and criticism. This article attempts to update such a framework by proposing the concept of transnational Chinese theatre(s) and tracing the contours of an expanding field of trans-Chinese/trans-Asian performance defined by collaborations and exchanges within and across the borders of Greater China—particularly in the realm of the avant-garde. The transnational and transmedial series Journey to the East (Zhongguo lücheng), created and coordinated by the Hong Kong arts collective Zuni Icosahedron, is examined as a paradigmatic illustration of this praxis. In the course of two decades Journey brought together artists and critics of Chinese (and subsequently Asian) descent hailing from several regions and disciplines to explore the potential of performance to establish alternative intellectual borders and new discursive bridges for artistic production and cultural dialogue. The concept of Journey rests upon fundamental notions of mobility, travel, and communication, and articulates an effort to map new relational trajectories and ‘rhizomatic’ paths. It highlights processes in which geopolitical, cultural, and transmedial boundaries are crossed, as well as questions of technology, tradition, and translation. It thus effectively voices the new transnational discourses and global demands of the Greater Chinese cultural field at the turn of the millennium. The analysis of this seminal project serves to outline the defining tropes and trajectories of transnational Chinese theatre(s), as well as its implications for the (re-)conceptualization of interculturalism and avant-garde theory in non-Western contexts.View full textDownload full textRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/13688790.2010.518350
机译:跨国主义的概念代表了大多数当代中文文学,电影和视觉艺术研究的关键理论范式。但是,中文剧院的奖学金仍然很大程度上取决于国家或地区分析和批评的模式。本文试图通过提出跨国华人戏剧的概念并追踪大中华地区内外的合作与交流所定义的跨华人/泛亚表演领域不断扩大的轮廓来更新这种框架。 ”尤其是在前卫领域。由香港艺术团体祖尼二十面体创作和协调的跨国和中级系列的“东方之旅”(Zhongguolücheng)被视为这种实践的典范。在过去的二十年中,《旅程》汇集了来自多个地区和学科的中国(以及后来的亚洲)血统的艺术家和评论家,探讨了表演的潜力,为艺术创作和文化对话建立替代性的知识边界和新的话语桥。 “旅程”的概念基于流动性,旅行性和沟通性的基本概念,并阐明了绘制新的关系轨迹和“根茎”路径的努力。它强调了跨越地缘政治,文化和媒介边界的过程,以及技术,传统和翻译问题。因此,它有效地表达了千年之交的大中华文化领域的新的跨国论述和全球要求。这项具有开创性的项目的分析旨在概述跨国华人戏剧的定义取向和轨迹,以及其对非西方语境中的跨文化主义和先锋理论的(重新)概念化的含义。查看全文下载全文相关的var addthis_config = {ui_cobrand:“泰勒和弗朗西斯在线”,servicescompact:“ citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,更多”,发布号:“ ra-4dff56cd6bb1830b”};添加到候选列表链接永久链接http://dx.doi.org/10.1080/13688790.2010.518350

著录项

  • 来源
    《Postcolonial Studies》 |2010年第4期|p.351-366|共16页
  • 作者

    Rossella Ferrari;

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  • 正文语种 eng
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  • 入库时间 2022-08-17 13:16:50

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