Abstract

Several recent theatrical works in Taiwan have used multiple languages within a single performance. Using two 1997 productions as examples, John B. Weinstein argues that this multilingual technique, which feels natural to playwrights, actors, and audiences in Taiwan, enables the playwrights to explore issues of identity more extensively. Furthermore, the audience's experience varies in accordance with each member's own language background.

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Additional Information

ISSN
1527-2109
Print ISSN
0742-5457
Pages
pp. 269-283
Launched on MUSE
2000-09-01
Open Access
No
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