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.

pdf

Additional Information

ISSN
1527-2109
Print ISSN
0742-5457
Pages
pp. 250-259
Launched on MUSE
2010-02-06
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.