Reflexivity, bodily praxis, and identity in Taiwanese opera

GLQ

Volumn 5, Issue 4, 1999, Pages 585-604

  Silvio, Teri ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 33749551154     PISSN: 10642684     EISSN: None     Source Type: Journal    
DOI: 10.1215/10642684-5-4-585     Document Type: Article

References (15)

1. I write koa-a-hi and other theatrical terms according to their pronunciations in the Taiwanese dialect, using the romanization system developed by the Taipei Language Institute, and other terms according to their pronunciation in the Mandarin dialect, using the pinyin romanization system.
2. Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, 1990), 137.
3. Other influential formulations of drag as alienation effect include Elin Diamond, "Brechtian Theory/Feminist Theory," TDR 32 (1988): 82-94;
4. and Sue-Ellen Case, "Toward a Butch-Femme Aesthetic," in Making a Spectacle: Feminist Essays on Contemporary Women's Theatre, ed. Lynda Hart (Ann Arbor: University of Michigan Press, 1989), 282-99.
5. Chang Hsiao-Hung, "Hybrid Women: Gender Parody and Cultural Mimicry" (paper presented at the conference "Trajectories: Towards a New International Cultural Studies," Taipei, 5-19 July 1992).
6. Bertolt Brecht, Brecht on Theatre: The Development of an Aesthetic, ed. and trans. John Willett (New York: Hill and Wang, 1964), 92.
7. Huang Zuolin, "A Supplement to Brecht's 'Alienation Effects in Chinese Acting,'" in Brecht and East Asian Theatre: The Proceedings of a Conference on Brecht in East Asian Theatre, ed. Antony Tatlow and Tak-Wai Wong (Hong Kong: Hong Kong University Press, 1982), 109.
8. See, e.g., Jean-François Billeter, The Chinese Art of Writing, trans. (New York: Skira/Rizzoli, 1990);
9. and Angela Zito, Of Body and Brush: Grand Sacrifice as Text/ Performance in Eighteenth-Century China (Chicago: University of Chicago Press, 1997).
10. When traditional koa-a-hi tunes are sung offstage, they are sung by a specific character who is out of sight of the characters onstage. I am grateful to Elizabeth Povinelli for pointing out the interiorizing effect of an offstage pop song in a video clip during a presentation I gave at the University of Chicago.
11. Antonia Yengning Chao, "Embodying the Invisible: Body Politics in Constructing Contemporary Taiwanese Lesbian Identities" (Ph.D. diss., Cornell University, 1996).
12. Height and appearance seem to have been more important factors in role assignment among the large indoor stage troupes that operated in the 1950s and 1960s and in television koa-a-hi troupes than they are among outdoor stage troupes.
13. Alisa Solomon, "Notes on Butch," in Re-dressing the Canon: Essays on Theatre and Gender (London: Routledge, 1997), 170.
14. Most actresses and fans give a sociological answer to this question (e.g., "Women have less freedom"), perhaps because it is what they figure an anthropologist is looking for. Significantly, no one answered the question in terms of psychological differences.
15. Laurence Senelick, introduction to Gender in Performance: The Presentation of Difference in the Performing Arts, ed. Laurence Senelick (Hanover, N.H.: University Press of New England), ix.