Please use this identifier to cite or link to this item: http://scholarbank.nus.edu.sg/handle/10635/29932
Title: Simplicity as Social Critique - Critical Simple Stages of Chinese Avant-Garde Theatre Since the Late 1990s
Authors: XU XIAOFENG
Keywords: simple stage, scenography, Chinese avant-garde theatre, critical design, Chinese consumer society
Issue Date: 22-Mar-2011
Source: XU XIAOFENG (2011-03-22). Simplicity as Social Critique - Critical Simple Stages of Chinese Avant-Garde Theatre Since the Late 1990s. ScholarBank@NUS Repository.
Abstract: Chinese consumer society has exerted great influence on Chinese theatre since the late 1990s; however, some Chinese directors and scenographers insist on resisting present theatre conventions (such as realism) and social institutions (such as Chinese consumer society) via avant-garde theatre. Amongst their avant-garde scenographies, simple stage is the most common style. Although these avant-garde scenographies, including simple stages, were regarded as depthless spectacles by some scholars, the research disagrees with these scholars. Developing and adopting a new methodology, scenography semiotics, the research reveals that some of the simple stages of Chinese avant-garde theatre since the late 1990s have actually performed directors? and scenographers? criticisms on Chinese consumer society. Analyzing their critical approaches, the research finds five types of critical simple stages, namely essentialized critical simple stage, rough critical simple stage, nostalgic critical simple stage, intense critical simple stage and absurd critical simple stage. By strategically making use of various meanings embodied in simplicity, each type of critical simple stages criticizes Chinese consumer society by its own method.
URI: http://scholarbank.nus.edu.sg/handle/10635/29932
Appears in Collections:Ph.D Theses (Open)

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