The Other Shore (40 page)

Xi, Yan 溪煙. “Pingjia zuopinde yiju shi shenme—Qu Liuyi Tongzhi wenzhang duhou” 〈評價作品的依據是甚麼—曲六乙同志文章讀後〉 (What are the Bases For Evaluating a Literary Work—After Reading Comrade Qu Liuyi’s Article).《文藝報》, 8 (1984).

Xie, Nie 謝聶. “Jiedu Bi’an de dianfuxing yinyu” 〈解讀《彼岸》的顛覆性隱喻〉 (Reading the Subversive Metaphors in
The Other Shore
).《星島日報》(Hong Kong), 21 April 1995.

Xing, Tiehua 邢鐵華. “Gao Xingjian paochude you yike ‘caiqiu’” 〈高行健拋出的又一顆「彩球」〉 (Gao Xingjian Tosses Out Another Multi-Coloured Ball).《戲劇界》, 5 (1985).

Xing Zhi 行之. “Zhengfu guanzhong” 〈征服觀眾〉 (Conquering the Audience).《戲劇報》, 12 (1982).

Xu, Guorong 許國榮, ed.
Gao Xingjian xiju yanjiu
《高行健戲劇研究》(Studies on Gao Xingjian’s Plays). Beijing: 中國戲劇出版社, 1985.

“Yeren—Tan Beijing renyi xinxide tupo” 〈《野人》—談北京人藝新戲的突破〉 (
Wilderness Man
—On the Breakthrough of the New Production by Beijing People’s Art Theatre).《香港文學》, 6 (1985).

“Yeren yiwu” 〈《野人》咿唔〉 (
Wilderness Man
and Mumbo-jumbo).《文藝報》, 13 July 1985.

Yin, Ning’an 尹寧安. “Yeren shi ge mi—huaju
Yeren guanhou
” 〈野人是個謎—話劇《野人》觀後〉 (The Wilderness Man is a Puzzle—After Seeing
Wilderness Man
).《中國青年報，星期日刊》, 19 May 1985.

Zhang, Fu 張玞. “Gao Xingjian yu Zhongguo dangdai xiju” 〈高行健與中國當代戲劇〉 (Gao Xngjian and Contemporary Chinese Drama). In Department of Chinese, University of Beijing, ed.
Zhuiyuji
《綴玉集》. Beijing:北京大學出版社, 1990.

Zhang, Renli 張仁里. “Huaju wutai shang de yici xin tansuo” 〈話劇舞台上的一次新探索〉 (A New Exploration on the Stage).《戲劇報》, 12 (1982).

Zeng, Zhennan 曾鎮南. “Shi
Yeren
” 〈釋《野人》〉 (Explaining Wilderness Man).《十月》, 6 (1985).

“Zhe yeshi lishi” 〈這也是歷史〉 (This Too is History).《讀書》, 7 (1983).

Zhong, Yibing 鍾藝兵. “Mantan
Yeren
” 〈漫談《野人》〉 (Random Talks on
Wilderness Man
).《戲劇報》, 7 (1985).

Zhou, Fanfu 周凡夫. “Sanchongxing guanzhong—kan Gao Xingjian de
Bi’an
” 〈三重性觀眾—看高行健的《彼岸》〉 (Tripartite Audience—Gao Xingjian’s
The Other Shore
).《聯合報》(Hong Kong), 23 April 1995.

Zi Yong 子庸. “Yizhong xiandai xijuguan” 〈一種現代戲劇觀〉 (A Modern Theory of Drama).《文藝研究》, 1 (1985).

Japanese

Seto Hiroshi 瀨戶宏.
Chuugoku no Doujidaiengeki
《中國の同時代演劇》(Contemporary Chinese Drama). Japan: 好文出版, 1995.

Seto Hiroshi 瀨戶宏. “Gao Xingjian Toubou Daikai” 〈高行健《逃亡》題解〉 (On Gao Xingjian’s
Exile
). In his
Chuugoku Gendai Gikyokushuu
《中國現代戲曲集》(Anthology of Modern Chinese Drama), Vol. 1. Japan: 晚成書房, 1994.

Western Languages

Alagic, Zoran. “Pa vandring med Gao Xingjian.”
Vämlands Folkblad
. Sweden: 4 Nov. 1992.

Almansi, Guido. “Al Limite Estremo, di Gao Xingjian.”
Panorma
. Roma: 2 June 1994.

Barmé, Geremie. “A Touch of the Absurd—Introducing Gao Xingjian and His Play
The Bus Stop
,”
Renditions
, Nos. 19–20 (Spring & Autumn 1983).

Basting, Monica. “Tradition und Avantgarde in Gao Xingjians Theaterstück ‘Die Wilden’.” Yeren. Bochum, Deutsche: Studienvert Brockmeyer, 1988.

Broder, F. J. “Geschwätzig verquastes Kopftheater.”
Frankischer
Tag. Deutsche: 28 Oct. 1992.

Broder, F. J. “Geschwätziges Kopftheater.”
Nordbayerscher
Kurier. Deutsche: 29 Oct. 1992.

Carraz, Daniele. “Gao Xingjian: Une recherche zen de l’absurde.” Le
Méridional
. Avignon: 18 July 1993.

Chen, Xiaomei. “A Wildman between Two Cultures: Some Paradigmatic Remarks on ‘Influence Studies’.”
Comparative Literature Studies
, Vol. 29, No. 4 (1992).

Clavel, André. “Lisez Gao Xingjian!”
L’Express
. 23 Nov. 1995.

Clavel, André. “Sur les cimes de l’âme.”
Gazette de Lausanne.
Suisse: 3 Feb. 1996.

Contrucci, Jean. “Le Robinson du fleuve Jaune.”
Le Provençal
. France: 24 Dec. 1995.

Decornoy, Jacques. “Sous la neige de la mémoire.”
Le Monde diplômatique
. Paris: 30 Nov. 1995.

Douin, Jean Luc. “Le Grand bond en arrière.”
Téléama
. Paris: 17 Jan. 1996.

Dutrait, Noël. “A Chen et Gao Xingjian, le retour du plaisir de conter.”
Publication de l’Université de Provence.
France: 1998.

Ehnmark, Katarina. “Mångbottnat symboldrama.”
Upsala Nya Tidning
. Sweden: 23 March 1992.

Florin, Magnus. “Jag vet att grodan är Gud.”
Expressen.
Sweden: 11 Dec. 1992.

Franzén, Lars-Olof. “Vacklande under jord.”
Gagens Nyheter.
Sweden: 21 March 1992.

Gao, Xingjian. “En kinesisk modernist, Lars Nygren.” Goteborgs-Posten. Sweden: 29 Feb. 1988.

Hansell, Sven. “Kvinna, ditt namn ar kroppslighet.”
Expressen.
Sweden: 21 March 1992.

Huss, Pia. “Ovanligt Kvinnoporträtt i tragikt samtidsdrama.”
Svenska Dagbladet.
Sweden: 21 March 1992.

Kofler, Gerhard. “Warten, Flucht, Reise—Gao Xingjian und sein Stück ‘Die Busstation’ in Wien.”
Der Standard,
Wien: 23 May 1990.

Kubin, Wolfgang. “Die Busstation.”
Die Busstation.
Bochum, Deutsche: Studienvert Brockmeyer, 1988.

Lee, Mabel. “Walking out of Other People’s Prisons: Liu Zaifu and Gao Xingjian on Chinese Literature in the 1990s.”
Asian and African Studies
, No. 5. U.K.: 1996.

Lee, Mabel. “Personal Freedom in Twentieth-Century China: Reclaiming the Self in Yang Lian’s Yi and Gao Xingjian’s
Lingshan
.” In Mabel Lee and Michael Wilding, ed.
History, Literature and Society: Essays in Honour of S.N. Mukherjee,
Vol. 15. Sydney: Sydney Studies in Society and Culture, 1996.

Lee, Mabel. “Gao Xingjian’s
Lingshan/Soul Mountain
, Modernism and Chinese Writer.”
Heat,
No. 4. Sydney: 1997.

Lee, Mabel. “Gao Xingjian’s Dialogue with Two Dead Poets from Shaoxing: Xu Wei and Lu Xun.”
Essays in Honour of Marian Galik, Schweizerische Asiengesellschaft Band,
Vol. 30. 1998.

Leonardini, Jean-Pierre. “Une rencontre fructueuse Jean-Pierre Leonardini.”
L’Humanité
”. Paris: 21 July 1993.

Li, Jianyi. “Gao Xingjian’s ‘The Bus-Stop’: Chinese Traditional Theatre and Western Avant-garde.” Master’s thesis, University of Alberta, 1991.

Lodén, Torbjörn. “World Literature with Chinese Characteristic: On a Novel by Gao Xingjian.”
The Stockholm Journal of East Asian Studies
. Vol. 4. Stockholm University: 1993.

Ma Sen. “The Theatre of the Absurd in Mainland China: Gao Xingjian’s
The Bus Stop.” Issues and Studies: A Journal of China Studies and International Affairs
, Vol. 25, No. 8 (Aug. 1989).

Margerie, Diane de. “Fragments d’une Chine dévastée.”
Le Figaro
. Paris: 11 Jan. 1996.

Martinez, Josefo. “Voyage dans la Chine profonde.”
La Marseillaise
. Marseille: 26 Nov. 1995.

Meudal, Gérard. “La Longue marche du résident Gao.”
Libération
. Paris: 21 Dec. 1995.

Nilsén, Rolf. “Gao kokar av berättarkraft.”
Norrbottenskuriren
. Sweden: 2 Oct. 1992.

Nyberg, Daga. “Andlig odyssé i Kina.”
Landstiningen
. Sweden: 11 Aug. 1992.

“Pa väg till Andarnas Berg Stig Hansén.”
I Dag/GT Kvällsposten
. Sweden: 23 Sept. 1992.

Persson, Lasse. “Kinesen på Dramaten.”
Expressen.
Sweden: 5 March 1988.

Peyraube, Alain. “Voyage au bout du la Chine.”
Le Monde
. Paris: 16 Dec. 1995.

Pille, Bruno. “Gao Xingjian tire sa révérence.”
La Nouvelle République du Centre-Ouest
. Joué-Lès-Tours, France: 30 Aug. 1994.

Pille, Bruno. “L’Eloge de la liberté assassinée.”
La Nouvelle République du Centre-Ouest
. Joué-Lès-Tours, France: 9 Dec. 1994.

Pimpaneau, Jacques. “Gao Xingjian, auteur dramatique.”
Le Rond Point janvier.
Paris: 1993.

Rind, Anita. “Les Amours de Petite Abeille et d’un jeune loubard.”
Le Monde
. Paris: 4 Dec. 1982.

Robinson, Marc. “Passion Plays."
Voice
. New York: 26 June 1994.

Roubicek, Bruno. “
Wild Man
: A Contemporary Chinese Spoken Drama.”
Asian Theatre Journal
, Vol. 7, No. 2 (Fall 1990).

Saag, Kristjan. “Spelet skymmer texten.”
I Dag GT/Kvällsposten
. Sweden: 22 March 1992.

Senne, Thomas. “Der Mensch flieht letztlich vor sich selbst.” Main-Echo. Deutsche: 5 Oct. 1992.

Tam, Kwok-kan. “Drama of Dilemma: Waiting as Form and Motif in
The Bus Stop and Waiting for Godot.
” In Yun-Tong Luk, ed.
Studies in Chinese-Western Comparative Drama.
Hong Kong: The Chinese University Press, 1990.

Tay, William. “Avant-garde Theater in Post-Mao China: The Bus Stop by Gao Xingjian.” In Howard Goldblatt, ed.
Worlds Apart: Recent Chinese Writing and Its Audiences.
Armonk, N.Y.: M. E. Sharpe, 1990.

Ulbricht, Dunja. “Im Angesicht des Todes.”
Neue Presse.
Deutsche: 27 Oct. 1992.

Ulbricht, Dunja. “Verbotenes Stück aus China.”
Heilbronner Stimme.
Deutsche: 30 Oct. 1992.

Wibling, Jörn. “Blivande nobel-pristagare i litteratur?”
Vastra Norrlands
. Sweden: 10 Nov. 1992.

Wischenbart, Rüdiger. “Zen im Theater des Absurden.”
Der Standard.
Wien: 24 Sept. 1992.

Wunsch, Ulrich. “Auf der Flucht in guter Absicht.”
Theater Heute.
Deutsche: No. 1, 1993.

Zimmermann, Gernot W. “Mauern, bitter und ironisch.”
Der Standard.
Wien: 29 Sept. 1992.Zou, Jiping. “Gao Xingjian and Chinese Experimental Theatre.” Ph.D. dissertation, University of Illinois, 1994.

Appendix C

Major Productions of

Gao Xingjian’s Plays

1982　
Absolute Signal
《
絕對信號》. Beijing People’s Art Theatre, Beijing, China. Directed by Lin Zhaohua.

1983　
Bus Station
《車站》. Beijing People’s Art Theatre, Beijing, China. Directed by Lin Zhaohua.

1984　
Bus Station
《車站》. Yugoslavia.

1985　
Wilderness Man
《
野人》. Beijing People’s Art Theatre, Beijing, China. Directed by Lin Zhaohua.

1987　
Hiding From the Rain
《躲雨》. Kungliga Dramatiska Teatern, Sweden. Directed by Peter Wahtqvist.

1987　
Bus Station
《車站》. Litz Drama Workshop, England.

1987　
Bus Station
《車站》. Horizonte Theatre, Hong Kong.

1988　
Wilderness Man
《野人》. Thalia Theatre, Hamburg, Germany. Directed by Lin Zhaohua.

1988　
Hades
《冥城》. Hong Kong Dance Company, Hong Kong. Directed by Chiang Ching.

1989　
Variations on a Slow Tune
《聲聲慢變奏》. Guggenheim Museum, New York, U.S.A. Directed by Chiang Ching.

1990　
The Other Shore
《彼岸》. National Arts College, Taipei, Taiwan. Directed by Chan Ling Ling.

1990　
Bus Station
《車站》. Wiener Unterhaltungs Theater, Vienna, Austria. Directed by Anselm Lipgens.

1990　
Wilderness Man
《野人》. Panther Theatre, Hong Kong. Directed by Luo Ka.

1992　
Exile
《逃亡》. Kungl Dramatiska Teatern, Sweden. Directed by Bjorn Granath.

1992　
Absolute Signal
《
絕對信號》. Godot Theater, Taipei.

1992　
Exile
《逃亡》. Nürnberg Theater, Nürnberg, Germany. Directed by Johnanns Klett.

1992　
Dialogue and Rebuttal
《對話與反詰》. Theater des Augenblicks, Wien, Austria. Directed by Gao Xingjian.

1993　
Between Life and Death
《
生死界》. Théâtre Renaud-Barrault Le Rond-Point, Paris, France. Directed by Alain Timárd.

1993　
Between Life and Death
《生死界》. Festival de Théâtre d’Avignon, France. Directed by Alain Timárd.

1993　
Between Life and Death
《
生死界》. Centre for Performance, University of Sydney, Australia. Directed by Gao Xingjian.

1994　
Between Life and Death
《生死界》. Dionysia Festival mondial de Théâtre Contemporain, Veroli, Italie. Directed by Gao Xingjian.

1994　
Exile
《逃亡》. Poland National Theatre, Poznam, Poland. Directed by Edward Wojtaszek.

1994　
Exile
《逃亡》. RA Theatre Company, France. Directed by Madelaine Gautiche.

1995　
The Other Shore
《彼岸》. The Hong Kong Academy for Performing Arts, Hong Kong. Directed by Gao Xingjian.

1995　
Dialogue and Rebuttal
《對話與反詰》. Théâtre Molière, Paris, France. Directed by Gao Xingjian.

1996　
Between Life and Death
《
生死界》. Teater Miejski Gdynia, Pologne.

1997　
Exile
《逃亡》. Ryunokai Gekidan 竜の会剧団, Osaka, Kobe, and Tokyo, Japan.

1997　
Between Life and Death
《生死界》. Theater for the New City, New York, U.S.A. Directed by Gao Xingjian.

1998　
Bus Station
《車站》. Theater of Cluj, Romania.

1998　
Exile
《逃亡》. Atelier Nomade, Benin, Ivory Coast.

1998　
Exile
《逃亡》. Haiyuza Gekidan 俳優座劇團, Tokyo, Japan.

1999　
Nocturnal Wanderer
《
夜遊神》. Theatre des Halles, Avignon, France.

Radio Broadcasting

1984　
Bus Station
《車站》. National Broadcasting Station of Hungary.

1992　
Exile
《逃亡》. British Broadcasting Corporation, London, U.K.

1993　
Between Life and Death
《生死界》. Radio France Culture, Paris.