There Is Not One China: Chinese Theaters in East Asia
Maciej Szatkowski
szatkowski@umk.plNicolaus Copernicus University in Toruń (Poland)
https://orcid.org/0000-0002-6540-4140
Abstract
This article discusses Rossella Ferrari’s book Transnational Chinese Theatres: Intercultural Performance Networks in East Asia. This research monograph by a scholar of Chinese theaters focuses on characterizing transnational artist networks in East Asia. Investigating theater collaborations of artists from China, Taiwan, and Hong Kong, Ferrari proposes a transnational and rhizomatic model for analyzing Sinophone culture. The book makes use of multiple sources not referenced in previous research, unpublished materials, and interviews. Ferrari explicitly dissociates herself from the orientalization of Eastern theaters; as her main method in researching them, she chooses Asia itself, following the Taiwanese cultural sociologist Chen Kuan-hsing (Asia as method) and listening carefully to the voice of Chinese theaters.
Keywords:
Chinese theater, transnationality, China, Hong Kong, Asia as methodReferences
Chen Kuan-hsing. Asia as Method: Toward Deimperialization. Durham, NC: Duke University Press, 2010.
DOI: https://doi.org/10.1515/9780822391692
Google Scholar
Ferrari, Rossella. Pop Goes the Avant-Garde: Experimental Theatre in Contemporary China. London: Seagull Books, 2012.
Google Scholar
Ferrari, Rossella. Transnational Chinese Theatres: Intercultural Performance Networks in East Asia. Cham: Palgrave Macmillan, 2020. https://doi.org/10.1007/978-3- 030-37273-6.
DOI: https://doi.org/10.1007/978-3-030-37273-6
Google Scholar
Authors
Maciej Szatkowskiszatkowski@umk.pl
Nicolaus Copernicus University in Toruń Poland
https://orcid.org/0000-0002-6540-4140
Maciej Szatkowski - sinologist, Assistant Professor at the Institute of Culture Studies of the Nicolaus Copernicus University in Toruń, and director of the Center for Chinese Language and Culture at this university. His research focuses on contemporary Chinese culture and literature, particularly Chinese counterculture of the late 1980s and 1990s, as well as drama translation.
Statistics
Abstract views: 193PDF downloads: 132
License
Copyright (c) 2023 Maciej Szatkowski
This work is licensed under a Creative Commons Attribution 4.0 International License.
The author grants a royalty-free nonexclusive license (CC BY 4.0) to use the article in Pamiętnik Teatralny, retains full copyright, and agrees to identify the work as first having been published in Pamiętnik Teatralny should it be published or used again (download licence agreement). By submitting an article the author agrees to make it available under CC BY 4.0 license.
From issue 1/2018 to 3/2022 all articles were published under a Creative Commons license CC BY-NC-ND 4.0. During this period the authors granted a royalty-free nonexclusive license (CC BY-ND 4.0) to use their article in Pamiętnik Teatralny, retained full copyright, and agreed to identify the work as first having been published in our journal should it be published or used again.
Most read articles by the same author(s)
- Danny Yung, Maciej Szatkowski, Cultural Institution and Institutional Culture from the Transcultural Perspective: What Is the Culture behind the Stage, and What Is the Culture inside a Cage? , Pamiętnik Teatralny: Vol. 72 No. 3 (2023): Transnational Pathways of Eurasian Performance Arts (with essay cluster curated by Artur Duda)