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Emotion, Materiality, and Subjectivity: Meng Jinghui's Rhinoceros in Love

Emotion, Materiality, and Subjectivity: Meng Jinghui's Rhinoceros in Love Abstract: Leading director Meng Jinghui's theatrical works move toward a more popular and urbanized theatre in contemporary China. Meng's Rhinoceros in Love provides a poignant reflection of the capitalist cultural condition. This paper examines the significance of this work as well as Meng's theatrical vision from the angle of subjectivity, and reads Meng's cultivation of subjectivity not as subversive or reflective, but as individualized and privatized "psychic interiority." The notion of popular theatre is discussed in the context of the avant-garde in China. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Emotion, Materiality, and Subjectivity: Meng Jinghui's Rhinoceros in Love

Asian Theatre Journal , Volume 26 (2) – Feb 6, 2009

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Publisher
University of Hawai'I Press
Copyright
Copyright © University of Hawai'I Press
ISSN
1527-2109
Publisher site
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Abstract

Abstract: Leading director Meng Jinghui's theatrical works move toward a more popular and urbanized theatre in contemporary China. Meng's Rhinoceros in Love provides a poignant reflection of the capitalist cultural condition. This paper examines the significance of this work as well as Meng's theatrical vision from the angle of subjectivity, and reads Meng's cultivation of subjectivity not as subversive or reflective, but as individualized and privatized "psychic interiority." The notion of popular theatre is discussed in the context of the avant-garde in China.

Journal

Asian Theatre JournalUniversity of Hawai'I Press

Published: Feb 6, 2009

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