Introduction: International Recognition and National Confusion

  • Todd J. Coulter


The introduction tackles the term transcultural and discusses how it is employed in the book. Because the term comes from Sy Ren Quah’s book, I take time to discuss Quah’s argument and how my work relates to his. Specifically, my work looks at his French-language plays and not his Chinese language work. The introduction goes on to show how Gao uses language to shift subjectivity and hence identity in his plays and concludes with a succinct biographical sketch of Gao and his career as a playwright and artist.


Nobel Prize Communist Party Chinese Communist Party Cultural Revolution International Recognition 
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  1. 1.
    Gao Xingjian, Soul Mountain, translated by Mabel Lee (New York: Harper Collins, 2000).Google Scholar
  2. 2.
    Gao Xingjian, One Man’s Bible, translated by Mabel Lee (New York: Harper Collins, 2000).Google Scholar
  3. 3.
    Sy Ren Quah, Gao Xingjian and Transcultural Chinese Theatre (Honolulu: University of Hawai’i Press, 2004).Google Scholar
  4. 9.
    Gao Xingjian, “Le Témoinage de la littérature,” in Le Témoinage de la littérature (Paris: Seuil, 2004), 136.Google Scholar
  5. 12.
    Patrice Pavis, Theatre at the Crossroads (London: Routledge, 1992), 4.CrossRefGoogle Scholar
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    Gao Xingjian, “Quatre quatuors pour un week-end,” in Gao Xingjian, Theater 1 (Paris: Lansman, 2000), 145. Translation mine.Google Scholar
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Copyright information

© Todd J. Coulter 2014

Authors and Affiliations

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

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