Abstract
The story of the production of Orlando in Taipei might be captured in the following playlet:
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Notes
For the reasons for incorporating noh in his performance, see Yeats’s introduction to Ezra Pound and Ernest Fenollosa’s Certain Noble Plays of Japan: From the Manuscripts of Ernest Fenollosa, Chosen and Finished by Ezra Pound, with an Introduction by William Butler Yeats (Churchtown: Cuala Press, 1916), i–xix, also see Yeats’s “Notes on the First Performance of ‘At the Hawk’s Well,’” in Yeats and the Noh, with Two Plays for Dancers by Yeats and Two Noh Plays, ed. Akhtar Qamber (New York: Weatherhill, 1974), 85–8. For the script of At the Hawk’s Well, see Akhtar Qamber, ed. (1974), 121–30.
Michio Ito, the Japanese dancer who was involved in Yeats’s “noh plays,” was instrumental in producing the Oriental fantasies of Ted Shawn and Jack Cole. He was unfortunately deported during World War II because of his “enemy ethnicity.” For a discussion of Ito’s career, see Yutian Wong, “Utopias: Michio Ito and the Trope of the International,” in Worlding Dance, ed. Susan Leigh Foster (New York and Basingstoke: Palgrave Macmillan, 2009), 144–62.
For the creation, process, and criticism of Brook’s Mahabharata, see David Williams, ed., Peter Brook and the Mahabharata: Critical Perspectives (London and New York: Routledge, 1991).
Katharina Otto-Bernstein, Absolute Wilson: The Biography (Munich, Berlin, London and New York: Prestel, 2006); Katharina Otto-Bernstein et al., Absolute Wilson (DVD) (New York: New York Video, 2007). Other frequently cited works include Arthur Hombert, The Theatre of Robert Wilson (Cambridge and New York: Cambridge University Press, 1996); Maria Shevtsova, Robert Wilson (London and New York: Routledge, 2007); Franco Quadri, Franco Bertoni and Robert Stearns, Robert Wilson (New York: Rizzoli, 1998); Laurence Shyer, Robert Wilson and His Collaborators (New York: Theatre Communication Group, 1989). Geng Yiwei’s book is a Chinese introduction to Wilson’s life and works prepared in advance of the Orlando performance. See Geng Yiwei, Robert Wilson, the Unlimited Power of Light (Luobo Wei’ersen, Guangde wuxian liliang) (Taipei: Zhongzheng wenhua, 2009).
“Two Is One: Western Avant-Garde Is in the Orient,” PAR: Performing Arts Review, vol. 195 (March 2009): 60–8.
Bradley Winterton, “Talking to Robert Wilson,” Taipei Times (20 February 2009), 13.
At the final dress rehearsal on 20 February, when the subtitles abruptly stopped, people thought it was a technical mistake. It turned out that Wang An-Ch’i had deliberately directed that subtitles be omitted for this section. When Wang An-Ch’i published her script, she insisted on including her own original lines. See Wang An-Ch’i and Xie Baiqi, Orlando: Chinese Opera Version (Oulanduo: xiqu ban), Taipei Theatre Journal, 10 (2009): 225–41. The script was later collected in the beautifully printed Orlando: Wake up the Orient, a record of the Orlando rehearsal and production process. See Geng Yiwei et al., Orlando: Wake up the Orient (Huanxing dongfang Oulanduo) (Taipei: Zhongzheng wenhua, 2009), 171–204.
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© 2011 Daphne P. Lei
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Lei, D.P. (2011). Waiting for Meaning: The Joint Venture of Robert Wilson, Jingju, and Taiwan. In: Alternative Chinese Opera in the Age of Globalization. Studies in International Performance. Palgrave Macmillan, London. https://doi.org/10.1057/9780230300422_5
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