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Full Description
This monograph interrogates the construction of the People's Republic of China across seven plays by White British playwrights. It analyses these original plays to explore the ways in which China is constructed as a political entity in relation to the British sense of self. It constructs a methodological correlation, contingent upon ambivalence, between the appearance of Brecht's Berliner Ensemble on the London stage in 1956, the dialectics of Brecht's method, interculturalism and translation, and poststructuralist conceptions of language, to explore tensions between neo-imperialist fantasy and postcolonial critique.
Contents
Chapter 1: Introduction: Poststructuralism, Dialectics, and the Shadow of Brecht.- Chapter 2: "China is poor because it is unjust. We must prove it, comrade": the Language of Revolution in David Hare's Fanshen (1975).- Chapter 3: "China is the mirror in which the West looks for reassurance she is beautiful": Anders Lustgarten's The Sugar-Coated Bullets of the Bourgeoisie.- Chapter 4: The Poetics of Quotation in Howard Brenton's #aiww: The Arrest of Ai Weiwei (2013).- Chapter 5: "The Envelope of Empty Speech": Language, Feeling, Action and Inaction in Howard Barker's In the Depths of Dead Love (2016).- Chapter 6: "Man is not improved by the hurt of others": Sympathetic Identification in Peter Nichols's Poppy (1982).- Chapter 7: A Dialectics of Cooperation in Paul Sirett's Running the Silk Road (2008).- Chapter 8: "A photograph is a mirror, what we are asked to read is the familiar": The West, the East, and Lucy Kirkwood's Chimerica (2013).
