Download Bodies And Transformance In Contemporary Taiwanese Theater full books in PDF, epub, and Kindle. Read online Bodies And Transformance In Contemporary Taiwanese Theater ebook anywhere anytime directly on your device. Fast Download speed and no annoying ads. We cannot guarantee that every ebooks is available!
In Bodies and Transformance in Taiwanese Contemporary Theater, Peilin Liang develops a theory of bodily transformation. Proposing the concept of transformance, a conscious and rigorous process of self-cultivation toward a reconceptualized body, Liang shows how theater practitioners of minoritized cultures adopt transformance as a strategy to counteract the embodied practices of ideological and economic hegemony. This book observes key Taiwanese contemporary theater practitioners at work in forging five reconceptualized bodies: the energized, the rhythmic, the ritualized, the joyous, and the (re)productive. By focusing on the development of transformance between the years of 2000–2008, a tumultuous political watershed in Taiwan’s history, the author succeeds in bridging postcolonialism and interculturalism in her conceptual framework. Ideal for scholars of Asian and postcolonial theater, Bodies and Transformance in Taiwanese Contemporary Theater shows how transformance, rather than performance, calibrates with far greater precision and acuity the state of the body and the culture that it seeks to create.
Book Synopsis Bodies and Transformance in Taiwanese Contemporary Theater by : Peilin Liang
Download or read book Bodies and Transformance in Taiwanese Contemporary Theater written by Peilin Liang and published by Routledge. This book was released on 2019-07-26 with total page 232 pages. Available in PDF, EPUB and Kindle. Book excerpt: In Bodies and Transformance in Taiwanese Contemporary Theater, Peilin Liang develops a theory of bodily transformation. Proposing the concept of transformance, a conscious and rigorous process of self-cultivation toward a reconceptualized body, Liang shows how theater practitioners of minoritized cultures adopt transformance as a strategy to counteract the embodied practices of ideological and economic hegemony. This book observes key Taiwanese contemporary theater practitioners at work in forging five reconceptualized bodies: the energized, the rhythmic, the ritualized, the joyous, and the (re)productive. By focusing on the development of transformance between the years of 2000–2008, a tumultuous political watershed in Taiwan’s history, the author succeeds in bridging postcolonialism and interculturalism in her conceptual framework. Ideal for scholars of Asian and postcolonial theater, Bodies and Transformance in Taiwanese Contemporary Theater shows how transformance, rather than performance, calibrates with far greater precision and acuity the state of the body and the culture that it seeks to create.
Proposing the concept of transformance, a conscious and rigorous process of self-cultivation towards a re-conceptualized body, Peilin Liang examines the creative process of theatre-making by minoritized cultures in the (post)colonial and postmartial Taiwan of the 2000s.
Book Synopsis Bodies and Transformance in Contemporary Taiwanese Theater by : Peilin Liang
Download or read book Bodies and Transformance in Contemporary Taiwanese Theater written by Peilin Liang and published by . This book was released on 2019 with total page 0 pages. Available in PDF, EPUB and Kindle. Book excerpt: Proposing the concept of transformance, a conscious and rigorous process of self-cultivation towards a re-conceptualized body, Peilin Liang examines the creative process of theatre-making by minoritized cultures in the (post)colonial and postmartial Taiwan of the 2000s.
This companion interrogates the relationship between theatre and youth from a global perspective, taking in performances and theatre made by, for, and about young people. These different but interrelated forms of theatre are addressed through four critical themes that underpin the ways in which analysis of contemporary theatre in relation to young people can be framed: political utterances – exploring the varied ways theatre becomes a platform for political utterance as a process of dialogic thinking and critical imagining; critical positioning – examining youth theatre work that navigates the sensitive, dynamic, and complex terrains in which young people live and perform; pedagogic frames – outlining a range of contexts and programmes in which young people learn to make and understand theatre that reflects their artistic capacities and aesthetic strategies; applying performance – discussing a range of projects and companies whose work has been influential in the development of youth theatre within specific contexts. Providing critical, research-informed, and research-based discussions on the intersection between young people, their representation, and their participation in theatre, this is a landmark text for students, scholars, and practitioners whose work and thinking involves theatre and young people.
Book Synopsis The Routledge Companion to Theatre and Young People by : Selina Busby
Download or read book The Routledge Companion to Theatre and Young People written by Selina Busby and published by Taylor & Francis. This book was released on 2022-10-31 with total page 733 pages. Available in PDF, EPUB and Kindle. Book excerpt: This companion interrogates the relationship between theatre and youth from a global perspective, taking in performances and theatre made by, for, and about young people. These different but interrelated forms of theatre are addressed through four critical themes that underpin the ways in which analysis of contemporary theatre in relation to young people can be framed: political utterances – exploring the varied ways theatre becomes a platform for political utterance as a process of dialogic thinking and critical imagining; critical positioning – examining youth theatre work that navigates the sensitive, dynamic, and complex terrains in which young people live and perform; pedagogic frames – outlining a range of contexts and programmes in which young people learn to make and understand theatre that reflects their artistic capacities and aesthetic strategies; applying performance – discussing a range of projects and companies whose work has been influential in the development of youth theatre within specific contexts. Providing critical, research-informed, and research-based discussions on the intersection between young people, their representation, and their participation in theatre, this is a landmark text for students, scholars, and practitioners whose work and thinking involves theatre and young people.
This handbook presents cutting-edge research on Asian transnationalism written by experts in the areas of migration, diaspora, ethnicity, gender, language, education, politics, media, art, popular culture and literature from diverse theoretical and methodological perspectives. The Asian region not only constitutes one of the largest diasporic populations in the world but also the most diversified diasporas in terms of their historical trajectories of emigration, geographical spread, economic and political strength, socio-cultural integration in the host country and transnational engagement with the homeland. Divided thematically into six broad sections, the chapters in this handbook critically discuss and debate some of the pertinent issues of Asian transnationalism: Contextualizing Asian Transnationalism Transnationalism and Socio-Cultural Identities Transnationalism, Education and Infrastructure Transnationalism, Gender and Development Transnationalism and Dynamics of Diasporic Politics Transnationalism, Art and Media The Routledge Handbook of Asian Transnationalism will be an invaluable resource for academics, researchers and students interested in the study of international migration, Asian diaspora and transnationalism. Chapter 29 of this book is available for free in PDF format as Open Access from the individual product page at www.routledge.com. It has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.
Book Synopsis Routledge Handbook of Asian Transnationalism by : Ajaya Kumar Sahoo
Download or read book Routledge Handbook of Asian Transnationalism written by Ajaya Kumar Sahoo and published by Taylor & Francis. This book was released on 2022-08-01 with total page 583 pages. Available in PDF, EPUB and Kindle. Book excerpt: This handbook presents cutting-edge research on Asian transnationalism written by experts in the areas of migration, diaspora, ethnicity, gender, language, education, politics, media, art, popular culture and literature from diverse theoretical and methodological perspectives. The Asian region not only constitutes one of the largest diasporic populations in the world but also the most diversified diasporas in terms of their historical trajectories of emigration, geographical spread, economic and political strength, socio-cultural integration in the host country and transnational engagement with the homeland. Divided thematically into six broad sections, the chapters in this handbook critically discuss and debate some of the pertinent issues of Asian transnationalism: Contextualizing Asian Transnationalism Transnationalism and Socio-Cultural Identities Transnationalism, Education and Infrastructure Transnationalism, Gender and Development Transnationalism and Dynamics of Diasporic Politics Transnationalism, Art and Media The Routledge Handbook of Asian Transnationalism will be an invaluable resource for academics, researchers and students interested in the study of international migration, Asian diaspora and transnationalism. Chapter 29 of this book is available for free in PDF format as Open Access from the individual product page at www.routledge.com. It has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.
This book investigates the aesthetics and politics of Post/Taiwan-New-Cinema by examining fifteen movies by six directors and frequent award winners in international film festivals. The book considers the works of such prominent directors as Edward Yang, Tsai Ming-liang and Chang Tsuo-chi and their influence on Asian films, as well as emergent phenomenal directors such as Wei Te-sheng, Zero Chou, and Chung Mong-hong. It also explores the possibility of transnational and trans-local social sphere in the interstices of layered colonial legacies, nation-state domination, and global capitalism. Considering Taiwan cinema in the wake of globalization, it analyses how these films represent the socio-political transition among multiple colonial legacies, global capitalism, and the changing cross-strait relation between Taiwan and the Mainland China. The book discusses how these films represent nomadic urban middle class, displaced transnational migrant workers, roaming children and young gangsters, and explores how the continuity/disjuncture of globalization has not only carved into historical and personal memories and individual bodies, but also influenced the transnational production modes and marketing strategies of cinema.
Book Synopsis Taiwan Cinema, Memory, and Modernity by : Ivy I-chu Chang
Download or read book Taiwan Cinema, Memory, and Modernity written by Ivy I-chu Chang and published by Springer. This book was released on 2019-01-04 with total page 279 pages. Available in PDF, EPUB and Kindle. Book excerpt: This book investigates the aesthetics and politics of Post/Taiwan-New-Cinema by examining fifteen movies by six directors and frequent award winners in international film festivals. The book considers the works of such prominent directors as Edward Yang, Tsai Ming-liang and Chang Tsuo-chi and their influence on Asian films, as well as emergent phenomenal directors such as Wei Te-sheng, Zero Chou, and Chung Mong-hong. It also explores the possibility of transnational and trans-local social sphere in the interstices of layered colonial legacies, nation-state domination, and global capitalism. Considering Taiwan cinema in the wake of globalization, it analyses how these films represent the socio-political transition among multiple colonial legacies, global capitalism, and the changing cross-strait relation between Taiwan and the Mainland China. The book discusses how these films represent nomadic urban middle class, displaced transnational migrant workers, roaming children and young gangsters, and explores how the continuity/disjuncture of globalization has not only carved into historical and personal memories and individual bodies, but also influenced the transnational production modes and marketing strategies of cinema.
Investigating more than 70 key concepts relating to the performing arts in more than six non-European languages, this volume provides a groundbreaking research tool and one-of-a-kind reference source for theatre, performance and dance studies worldwide. The Companion features in-depth explorations of and expert introductions to a select number of performance-related key concepts in Arabic, Chinese, Japanese, Korean, Yorùbá as well as the Indian languages Sanskrit, Hindi and Tamil. Key concepts—such as Furǧa فرجة in Arabic, for example, or Jiadingxing 假定性 in Chinese, Gei 芸 in Japanese, Ìparadà in Yorùbá and Imyeon 이면 in Korean—that defy easy translation from one language to another (and especially into English as the world’s lingua franca) and that reflect culturally specific ways of thinking and talking about the performing arts are thoroughly examined in in-depth articles. Written by more than 60 distinguished scholars from around the globe, the articles describe in detail each concept’s dynamic history, its flexible scope of meaning and current range of usage. The Companion also includes extensive introductions to each language section, in which internationally renowned experts explain how the presented key concepts are situated within, and are constitutive of, distinct and dynamic epistemic systems that have different yet always interlinked histories and orientations. Offers a fascinating insight into the unique histories, characteristics, and orientations of linguistically and culturally distinct epistemic systems related to the performative arts Contains extensive cross-references and bibliographies An invaluable research tool and one-of-a-kind reference source for scholars and students worldwide and across the humanities, especially in the fields of theatre, performance, dance, translation, area and cultural studies An accessible handbook for everybody interested in performance cultures and performance-related knowledge systems existing in the world today. This volume provides an invaluable research tool and one-of-a-kind reference source for scholars and students worldwide and across the humanities, especially in the fields of theatre, performance, dance, translation and area studies, history (of science and the humanities) and cultural studies.
Book Synopsis The Routledge Companion to Performance-Related Concepts in Non-European Languages by : Erika Fischer-Lichte
Download or read book The Routledge Companion to Performance-Related Concepts in Non-European Languages written by Erika Fischer-Lichte and published by Taylor & Francis. This book was released on 2024-05-31 with total page 851 pages. Available in PDF, EPUB and Kindle. Book excerpt: Investigating more than 70 key concepts relating to the performing arts in more than six non-European languages, this volume provides a groundbreaking research tool and one-of-a-kind reference source for theatre, performance and dance studies worldwide. The Companion features in-depth explorations of and expert introductions to a select number of performance-related key concepts in Arabic, Chinese, Japanese, Korean, Yorùbá as well as the Indian languages Sanskrit, Hindi and Tamil. Key concepts—such as Furǧa فرجة in Arabic, for example, or Jiadingxing 假定性 in Chinese, Gei 芸 in Japanese, Ìparadà in Yorùbá and Imyeon 이면 in Korean—that defy easy translation from one language to another (and especially into English as the world’s lingua franca) and that reflect culturally specific ways of thinking and talking about the performing arts are thoroughly examined in in-depth articles. Written by more than 60 distinguished scholars from around the globe, the articles describe in detail each concept’s dynamic history, its flexible scope of meaning and current range of usage. The Companion also includes extensive introductions to each language section, in which internationally renowned experts explain how the presented key concepts are situated within, and are constitutive of, distinct and dynamic epistemic systems that have different yet always interlinked histories and orientations. Offers a fascinating insight into the unique histories, characteristics, and orientations of linguistically and culturally distinct epistemic systems related to the performative arts Contains extensive cross-references and bibliographies An invaluable research tool and one-of-a-kind reference source for scholars and students worldwide and across the humanities, especially in the fields of theatre, performance, dance, translation, area and cultural studies An accessible handbook for everybody interested in performance cultures and performance-related knowledge systems existing in the world today. This volume provides an invaluable research tool and one-of-a-kind reference source for scholars and students worldwide and across the humanities, especially in the fields of theatre, performance, dance, translation and area studies, history (of science and the humanities) and cultural studies.
The nature of the historical relationship between aesthetics and politics in modern Taiwanese theatre, especially after the lifting of martial law (19491987), remains a highly contested issue. At the same time, searching for a new Taiwanese body continues to be a major direction of theatrical experiments and is under-theorized. In regard to historical surveys, Taiwanese scholars such as Chung Ming-Der, Ma Sen, Lin He-Yi, and Chi Wei-Jan have published considerable work on the development of modern Taiwanese theatre. Shih Wan-Shun, Wang Li-Wen, Chang Ivy I Chu, Liang Pei-Lin, Cheng Fan-Ting, and Wu Chen-Tse have all, in their theses and dissertations, attended to questions of thematics and theatrics in modern Taiwanese practice. However, so far, few works have examined the tension between the historical continuum of political oppression and the immediacy of theatrical performance. The continued sedimentation of politics and aesthetics embedded in bodily performance constitutes a dominant research emphasis in performance studies, but has yet to be fully explored in modern Taiwanese theatre. Via a close reading from a biopolitical perspective of the body in text and on stage, my dissertation bridges the scholarly gap between historiography and theory as each pertain to the theatre. I argue that the body carries ideology-ridden messages, making corporeal existence a crucial site deployed by theatre participants to reconfigure the idea of Taiwan since the Japanese colonial period. In my Introduction, I revisit the historical development of modern Taiwanese theatre pertaining to the body. Chapter One focuses on Tian Chi-Yuan (, 19641996) and his White Water (, Baishui 1993). Concentrating on Tians multiple schemas of the body, I argue for a constructivist model of national identity to consider the experiment of modern Taiwanese theatre as a critical hybrid of borrowing and rejecting local traditional resources and foreign cultural references. Chapter Two shifts the focus to two of the most significant playwrights and directors in modern Taiwanese theatre, Stan Lai (, 1954 ) and Hugh K. S. Lee (, 19552013). The realistic style of performance, or critical realism, a term suggested by Tobin Nellhaus, of Lees Far Away from Home (, Xi Chu Yang Guan 1988) and Lais A Dream like a Dream (, Ru Meng Zhi Meng 2000) foreground the nuanced flow between social realities and theatrical representations in which the enacted body can express memories and traumas in response to defining historical junctures. Chapter Three explores the work of Robert Wilson (1941 ) and Suzuki Tadashi (1939 ) and their intercultural, flagship productions in twenty-first-century Taiwan, with special attention to Wilsons Orlando (2009) and Suzukis La Dame aux Camlias (2011). Overall, I argue that modern Taiwanese theatre provides a powerful instance of intercultural performance functioning as a subjectivity reformed via an emotional articulation of a transfigured postcolonial, political, and cultural identity. In the Conclusion, I reiterate the ways in which the body continues to be an experimental site for challenging issues of identity in modern Taiwanese theatre. By analyzing performances in the postmartial law era, I offer micro-reading of the body in performance and formulate an analytical angle on performance with sociopolitical specificities. On this basis, I show that the concepts of modernity, trauma, and subjectivitythemes repeatedly tackled by scholarsare more than abstract notions and textual representations. Instead, these concepts also constitute physical practice by reflexively generating knowledge and affect. I am, therefore, offering an argument in opposition to the idea of interpreting modern Taiwanese theatre as an attempt to construct Taiwan. In my account, modern Taiwanese theatre functions as a biopolitical practice that refracts identity struggles captured in history and in the present day of an impossibly delayed Taiwanese identity.
Book Synopsis Intercultural Bodies by : Wei-Chih Wang
Download or read book Intercultural Bodies written by Wei-Chih Wang and published by . This book was released on 2016 with total page pages. Available in PDF, EPUB and Kindle. Book excerpt: The nature of the historical relationship between aesthetics and politics in modern Taiwanese theatre, especially after the lifting of martial law (19491987), remains a highly contested issue. At the same time, searching for a new Taiwanese body continues to be a major direction of theatrical experiments and is under-theorized. In regard to historical surveys, Taiwanese scholars such as Chung Ming-Der, Ma Sen, Lin He-Yi, and Chi Wei-Jan have published considerable work on the development of modern Taiwanese theatre. Shih Wan-Shun, Wang Li-Wen, Chang Ivy I Chu, Liang Pei-Lin, Cheng Fan-Ting, and Wu Chen-Tse have all, in their theses and dissertations, attended to questions of thematics and theatrics in modern Taiwanese practice. However, so far, few works have examined the tension between the historical continuum of political oppression and the immediacy of theatrical performance. The continued sedimentation of politics and aesthetics embedded in bodily performance constitutes a dominant research emphasis in performance studies, but has yet to be fully explored in modern Taiwanese theatre. Via a close reading from a biopolitical perspective of the body in text and on stage, my dissertation bridges the scholarly gap between historiography and theory as each pertain to the theatre. I argue that the body carries ideology-ridden messages, making corporeal existence a crucial site deployed by theatre participants to reconfigure the idea of Taiwan since the Japanese colonial period. In my Introduction, I revisit the historical development of modern Taiwanese theatre pertaining to the body. Chapter One focuses on Tian Chi-Yuan (, 19641996) and his White Water (, Baishui 1993). Concentrating on Tians multiple schemas of the body, I argue for a constructivist model of national identity to consider the experiment of modern Taiwanese theatre as a critical hybrid of borrowing and rejecting local traditional resources and foreign cultural references. Chapter Two shifts the focus to two of the most significant playwrights and directors in modern Taiwanese theatre, Stan Lai (, 1954 ) and Hugh K. S. Lee (, 19552013). The realistic style of performance, or critical realism, a term suggested by Tobin Nellhaus, of Lees Far Away from Home (, Xi Chu Yang Guan 1988) and Lais A Dream like a Dream (, Ru Meng Zhi Meng 2000) foreground the nuanced flow between social realities and theatrical representations in which the enacted body can express memories and traumas in response to defining historical junctures. Chapter Three explores the work of Robert Wilson (1941 ) and Suzuki Tadashi (1939 ) and their intercultural, flagship productions in twenty-first-century Taiwan, with special attention to Wilsons Orlando (2009) and Suzukis La Dame aux Camlias (2011). Overall, I argue that modern Taiwanese theatre provides a powerful instance of intercultural performance functioning as a subjectivity reformed via an emotional articulation of a transfigured postcolonial, political, and cultural identity. In the Conclusion, I reiterate the ways in which the body continues to be an experimental site for challenging issues of identity in modern Taiwanese theatre. By analyzing performances in the postmartial law era, I offer micro-reading of the body in performance and formulate an analytical angle on performance with sociopolitical specificities. On this basis, I show that the concepts of modernity, trauma, and subjectivitythemes repeatedly tackled by scholarsare more than abstract notions and textual representations. Instead, these concepts also constitute physical practice by reflexively generating knowledge and affect. I am, therefore, offering an argument in opposition to the idea of interpreting modern Taiwanese theatre as an attempt to construct Taiwan. In my account, modern Taiwanese theatre functions as a biopolitical practice that refracts identity struggles captured in history and in the present day of an impossibly delayed Taiwanese identity.
The Routledge Handbook of Contemporary Taiwan offers a comprehensive overview of both contemporary Taiwan and the Taiwan studies field. Each contribution summarises the major findings in the field and highlights long-term trends, recent observations and possible future developments in Taiwan. Written by an international team of experts, the chapters included in the volume form an accessible and fascinating insight into contemporary Taiwan. Up-to-date, interdisciplinary, and academically rigorous, the Handbook will be of interest to students, academics, policymakers and others in search of reliable information on Taiwanese politics, economics, culture and society.
Book Synopsis Routledge Handbook of Contemporary Taiwan by : Gunter Schubert
Download or read book Routledge Handbook of Contemporary Taiwan written by Gunter Schubert and published by Routledge. This book was released on 2016-05-20 with total page 588 pages. Available in PDF, EPUB and Kindle. Book excerpt: The Routledge Handbook of Contemporary Taiwan offers a comprehensive overview of both contemporary Taiwan and the Taiwan studies field. Each contribution summarises the major findings in the field and highlights long-term trends, recent observations and possible future developments in Taiwan. Written by an international team of experts, the chapters included in the volume form an accessible and fascinating insight into contemporary Taiwan. Up-to-date, interdisciplinary, and academically rigorous, the Handbook will be of interest to students, academics, policymakers and others in search of reliable information on Taiwanese politics, economics, culture and society.
Where Are the People? How Could the People’s Bodies Voice Themselves in the Form of Theatrical Aesthetics? At That Time, the Audience Really Stood Up. In this evening, theater practitioners initiated the conversation with physical action. They engage with contemporary issues through their unique performance styles. From a discursive context, they enter the scene of resistance and undertake the labor of performance. Their performance is not just the preface to a series of dialogues, but also a witness to thirty years of People’s Theater. “People’s theater” belongs to the people. It is the theater created by the people and speaks for the people as it has appeared in history in diverse forms. People theater in Inter-Asian Societies began to grow in a cross-region, which included Jakarta, Manila, Bangkok, Kuala Lumpur, Hong Kong, Tokyo, Busan, Maputo, Beijing, Shanghai, Hualien, Taichung, and Taipei. Through the writings and images written down by theatrical artists from these spaces, we can figure out the body aesthetics that carry historical conflicts and the experience to find the form and channel of expression, and continue for work of thinking and creation. “People Theater” is nothing but a rehearsal for a revolution. This book has reviewed and reflected on the half-century development of people’s theater in inter-Asian societies, demonstrates how the theatrical practitioners and artists in different communities strived to open various spaces, dealt with the censorship from the authoritarian regime to the neoliberal societies, and experimented with diverse aesthetics and local objects to address political issues. ▍Preface “It is a collection with the premise that can motivate our critical thinking with bodily energy. It reflects how we realize the statement—‘Viewing as participating; audience as actors.’It is also a book where some keywords constantly appear, like resistance, politics, the oppressed, and conversation. With its humming buzz and murmur against the present situation, it is a collection of words refusing to remain silent.”— Lin Hsin I(Associate Professor at the Institute of Applied Art, National Yang Ming Chiao Tung University) ▍People’s Theater Practitioners Asian People’s Theatre Festival Society (Hong Kong)/Assignment Theatre (Taiwan)/Centre for Applied Theatre, Taiwan (Taipei)/Grass Stage (Shanghai)/Langasan Theatre (Hualien)/Makhampom Theatre Group (Ching Dao/Bangkok)/Oz Theatre Company (Taipei)/Philippine Educational Theater Association, PETA (Manila)/Shigang Mama Theater (Taichung Shigang)/Teater Kubur (Jakarta)/Teatro em Casa (Mozambique)/Theater Playground SHIIM (Busan)/Trans-Asia Sisters Theater (Taiwan)/WANG Mo-lin (Taiwan)/Wiji Thukul (Solo)/Yasen no Tsuki (Tokyo) ▍Characteristics of this book 1.Beyond the geographical limitations of Taiwan and East Asia, combined the context of Inter-Asian societies and Third-World society, appreciate the theater work methods that are intertwined with folk culture and community traditions, and promote the practice of public theater. 2. This book focuses on depicting network relationships in specific historical periods, and explores how the cooperation and interaction of troupes in these heterogeneous regions occurred. And how do these interactions affect the characteristics and forms of popular theater organizations in the transition of different policies? 3. What this book looks back on is not only the continuation and development of troupes but also the sudden change or gap between new people theaters and old people theaters.
Book Synopsis Where are the people? People’s Theater in Inter-Asian Societies by : Ratu Selvi Agnesia
Download or read book Where are the people? People’s Theater in Inter-Asian Societies written by Ratu Selvi Agnesia and published by 國立陽明交通大學出版社. This book was released on with total page 290 pages. Available in PDF, EPUB and Kindle. Book excerpt: Where Are the People? How Could the People’s Bodies Voice Themselves in the Form of Theatrical Aesthetics? At That Time, the Audience Really Stood Up. In this evening, theater practitioners initiated the conversation with physical action. They engage with contemporary issues through their unique performance styles. From a discursive context, they enter the scene of resistance and undertake the labor of performance. Their performance is not just the preface to a series of dialogues, but also a witness to thirty years of People’s Theater. “People’s theater” belongs to the people. It is the theater created by the people and speaks for the people as it has appeared in history in diverse forms. People theater in Inter-Asian Societies began to grow in a cross-region, which included Jakarta, Manila, Bangkok, Kuala Lumpur, Hong Kong, Tokyo, Busan, Maputo, Beijing, Shanghai, Hualien, Taichung, and Taipei. Through the writings and images written down by theatrical artists from these spaces, we can figure out the body aesthetics that carry historical conflicts and the experience to find the form and channel of expression, and continue for work of thinking and creation. “People Theater” is nothing but a rehearsal for a revolution. This book has reviewed and reflected on the half-century development of people’s theater in inter-Asian societies, demonstrates how the theatrical practitioners and artists in different communities strived to open various spaces, dealt with the censorship from the authoritarian regime to the neoliberal societies, and experimented with diverse aesthetics and local objects to address political issues. ▍Preface “It is a collection with the premise that can motivate our critical thinking with bodily energy. It reflects how we realize the statement—‘Viewing as participating; audience as actors.’It is also a book where some keywords constantly appear, like resistance, politics, the oppressed, and conversation. With its humming buzz and murmur against the present situation, it is a collection of words refusing to remain silent.”— Lin Hsin I(Associate Professor at the Institute of Applied Art, National Yang Ming Chiao Tung University) ▍People’s Theater Practitioners Asian People’s Theatre Festival Society (Hong Kong)/Assignment Theatre (Taiwan)/Centre for Applied Theatre, Taiwan (Taipei)/Grass Stage (Shanghai)/Langasan Theatre (Hualien)/Makhampom Theatre Group (Ching Dao/Bangkok)/Oz Theatre Company (Taipei)/Philippine Educational Theater Association, PETA (Manila)/Shigang Mama Theater (Taichung Shigang)/Teater Kubur (Jakarta)/Teatro em Casa (Mozambique)/Theater Playground SHIIM (Busan)/Trans-Asia Sisters Theater (Taiwan)/WANG Mo-lin (Taiwan)/Wiji Thukul (Solo)/Yasen no Tsuki (Tokyo) ▍Characteristics of this book 1.Beyond the geographical limitations of Taiwan and East Asia, combined the context of Inter-Asian societies and Third-World society, appreciate the theater work methods that are intertwined with folk culture and community traditions, and promote the practice of public theater. 2. This book focuses on depicting network relationships in specific historical periods, and explores how the cooperation and interaction of troupes in these heterogeneous regions occurred. And how do these interactions affect the characteristics and forms of popular theater organizations in the transition of different policies? 3. What this book looks back on is not only the continuation and development of troupes but also the sudden change or gap between new people theaters and old people theaters.
From feminist philosophy to genetic science, scholarship in recent years has succeeded in challenging many entrenched assumptions about the material and biological status of human bodies. Likewise in the study of Chinese cultures, accelerating globalization and the resultant hybridity have called into question previous assumptions about the boundaries of Chinese national and ethnic identity. The problem of identifying a single or definitive referent for the "Chinese body" is thornier than ever. By facilitating fresh dialogue between fields as diverse as the history of science, literary studies, diaspora studies, cultural anthropology, and contemporary Chinese film and cultural studies, Embodied Modernities addresses contemporary Chinese embodiments as they are represented textually and as part of everyday life practices. The book is divided into two sections, each with a dedicated introduction by the editors. The first examines "Thresholds of Modernity" in chapters on Chinese body cultures in the late nineteenth and early twentieth centuries—a period of intensive cultural, political, and social modernization that led to a series of radical transformations in how bodies were understood and represented.The second section on "Contemporary Embodiments" explores body representations across the People’s Republic of China,Taiwan, and Hong Kong today. Contributors: Chris Berry, Louise Edwards, Maram Epstein, Larissa Heinrich, Olivia Khoo, Fran Martin, Jami Proctor-Xu, Tze-lan D. Sang, Teri Silvio, Mark Stevenson, Cuncun Wu, Angela Zito, John Zou.
Book Synopsis Embodied Modernities by : Fran Martin
Download or read book Embodied Modernities written by Fran Martin and published by University of Hawaii Press. This book was released on 2006-07-31 with total page 302 pages. Available in PDF, EPUB and Kindle. Book excerpt: From feminist philosophy to genetic science, scholarship in recent years has succeeded in challenging many entrenched assumptions about the material and biological status of human bodies. Likewise in the study of Chinese cultures, accelerating globalization and the resultant hybridity have called into question previous assumptions about the boundaries of Chinese national and ethnic identity. The problem of identifying a single or definitive referent for the "Chinese body" is thornier than ever. By facilitating fresh dialogue between fields as diverse as the history of science, literary studies, diaspora studies, cultural anthropology, and contemporary Chinese film and cultural studies, Embodied Modernities addresses contemporary Chinese embodiments as they are represented textually and as part of everyday life practices. The book is divided into two sections, each with a dedicated introduction by the editors. The first examines "Thresholds of Modernity" in chapters on Chinese body cultures in the late nineteenth and early twentieth centuries—a period of intensive cultural, political, and social modernization that led to a series of radical transformations in how bodies were understood and represented.The second section on "Contemporary Embodiments" explores body representations across the People’s Republic of China,Taiwan, and Hong Kong today. Contributors: Chris Berry, Louise Edwards, Maram Epstein, Larissa Heinrich, Olivia Khoo, Fran Martin, Jami Proctor-Xu, Tze-lan D. Sang, Teri Silvio, Mark Stevenson, Cuncun Wu, Angela Zito, John Zou.