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An Individual in the Void: Au bord de la vie

  • Todd J. Coulter

Abstract

This chapter is the first of three to explore how theoretical ideas are realized in Gao’s plays. Offering an overview of all of his French language plays, this chapter concentrates on Gao’s first play written in French. Offering a brief textual analysis, the chapter looks at the structure of the text and how it demands a different performance style and thus creates a different aesthetic sensibility. To support this, the chapter looks at the play in a production at the Théâtre des Halles in Avignon. The chapter provides an analysis of how the play and production use traditional jingju aesthetics and concludes with the suggestion that Gao creates meaning through neutrality.

Keywords

Neutral Actor French Language Aesthetic Sensibility Single Voice Performance Style 
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Notes

  1. 4.
    Jean-Pierre Siméon, rev. of Au bord de la vie by Gao Xingjian, directed by Alain Timar, Théâtre des Halles, Avignon, L’Humanité, July 21, 2001, Culture section.Google Scholar
  2. 5.
    Gao Xingjian, “Au bord de la vie.” in Théatre 1 (Paris: Lansman, 2000), 68.Google Scholar
  3. 11.
    “Philippe Goudard Interview,” Au bord de la vie, directed by Alain Timar (Paris: Coopérative de production audiovisuelle théâtrale: 2001), VHS.Google Scholar
  4. 14.
    Pierre L’Huillery, rev. of Au bord de la vie by Gao Xingjian, directed by Alain Timar, Théâtre des Halles, Avignon, Agence Presse de France, July 20, 1993.Google Scholar
  5. 17.
    “Evelyne Istria lnterview,” Au bord de la vie by Gao Xingjian, directed by Alain Timar (Paris: Coopérative de production audiovisuelle théâtrale, 2001), VHS.Google Scholar

Copyright information

© Todd J. Coulter 2014

Authors and Affiliations

  • Todd J. Coulter
    • 1
  1. 1.Colby CollegeUSA

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