Titlebook: Intercultural Aesthetics in Traditional Chinese Theatre; From 1978 to the Pre Wei Feng Book 2020 The Editor(s) (if applicable) and The Auth

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書(shū)目名稱(chēng)Intercultural Aesthetics in Traditional Chinese Theatre影響因子(影響力)




書(shū)目名稱(chēng)Intercultural Aesthetics in Traditional Chinese Theatre影響因子(影響力)學(xué)科排名




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書(shū)目名稱(chēng)Intercultural Aesthetics in Traditional Chinese Theatre讀者反饋




書(shū)目名稱(chēng)Intercultural Aesthetics in Traditional Chinese Theatre讀者反饋學(xué)科排名

物種起源

摻假

Border-Crossing , Actors in Beckettian ,general categorization of types of characters trained in certain acting style and skills—links the performer and the character. Because of this, the focus of actors’ transformation is on role types. Contemporary Legend Theatre’s . adaptation of . (2005) is predominantly an experiment on acting style

自負(fù)的人

辯論的終結(jié)

Reframing Audience Experiences: Brechtian Estrangement and Metatheatricality Displaced in ,re and creative system—of reshaped stage-audience relationship since the early twentieth century, and prepares for a new attempt at reframing audience experiences by reassessing the relationship between . and illusionistic theatre. As case studies, the following section analyses . (.) (1987), a . ad

Infect

Conclusion, to transform its aesthetics. The result is either generation of productive and probably lasting new aesthetic paradigms, problematic narcissism, or an uncritical imposition of Western aesthetics. The fundamental issue involved in this is an emphasis on self-subjectivity, based on thorough and thoug

草率男

inese theatre studies by joining it with international discoThis book traces the transformation of traditional Chinese theatre’s (.xiqu.) aesthetics during its encounters with Western drama and theatrical forms in both mainland China and Taiwan since 1978. Through analyzing both the text and perform

Firefly

畫(huà)布

,‘Egotistic’ Adaptations of ,: Intercultural Playwrights Haunted by Tradition,itional Chinese motifs onto Shakespeare, but further, it also diminishes the polyphonic voices in . to the point of flattened characterization, a loss of humanistic spirit, and a narcissistic obsession with self and own tradition.

主動(dòng)脈

Border-Crossing , Actors in Beckettian ,uddha. Regarding the issue of actors, this chapter first touches on how the choice of . in this adaptation relates to the displacement of metaphysical context, that is Buddhism. Then, it analyses the transformation of actors’ performing conventions to formally embody the comic failure in Beckett’s play.