An Individual in Company: Quatre quatuors pour un week-end
Following a similar structure as Chapter 4, the chapter begins with a textual consideration of how Gao complicates subjective identity in a seemingly more traditionally structured play. The chapter goes on to consider the political ramifications of Gao writing and producing his work at the Comédie Française, asking how a playwright who is so committedly against political identification works within such a structure. The chapter, again, looks at how Gao’s play creates a different aesthetic structure that demands a careful approach in production.
KeywordsPersonal Pronoun Musical Piece National Theater Musical Composition Musical Structure
Unable to display preview. Download preview PDF.
- 8.Gao Xingjian, “Towards a New Literature,” in World Literature Today 75, no. 1 (2001), 10.Google Scholar
- 10.Marion Thébaud, rev. of Quatre quatuors pour un week-end by Gao Xingjian, directed by Gao Xingjian, Théâtre du Vieux Colombier, Paris, Le Figaro, March 14, 2003, Culture section.Google Scholar
- 19.Martin Esslin, Theatre of the Absurd (New York: Vintage, 1961), 38.Google Scholar
- 26.Robert Migliorini, rev. of Quatre quatuors pour un week-end by Gao Xingjian, directed by Gao Xingjian, Théâtre du Vieux Colombier, Paris, La Croix, April 8, 2003.Google Scholar