Hong Kong avant-garde theatre

In 2012, Zuni Icosahedron (Hong Kong), Za-Koenji Public Theatre (Tokyo), and the Jiangsu Kun Opera Theatre (Nanjing) initiated the Toki Project, an intercultural platform devoted to the transmission of kunqu and noh through contemporary performance. Originating from a Shanghai Expo 2010 commission, Toki provides a theatrical application of Chen Kuan-hsing’s influential notion of “Asia as method.” As epitomized by the yearly One Table, Two Chairs performances at Nanjing’s Toki Arts Festival, Toki partakes in Asia as method’s effort toward “decolonization, deimperialization, and de-cold war” through aesthetic and epistemological deconstruction, endorsing a dialogic model of intercultural performance as inter-Asian relation.

本书主要研究莎士比亚在中国的流传以及他对文学界、戏剧界以及中国文化的影响。莎士比亚的作品传到中国后，如何本土化的，如何传播的，如何与中国戏剧结合的，作者从比较文学的角度对这些问题一一进行了探讨。本书英文原版获2010年美国现代语言文学研究会MLA学术著作奖Scaglione Prize和Joe A. Callaway Prize*佳戏剧研究奖。

目录
序言 / 1
第1部 文化交流理论
第1章 莎士比亚与中国： 文化拥有权的争辩 /
第二部 虚构的道德空间
第二章 晚清的莎士比亚接受史： 从梁启超到鲁迅 /
第三章 道德的批判与改写： 兰姆姐弟、林纾及老舍 /
第三部 本土化的诠释
第四章 无声电影与早期话剧： 表演性别与映像城市 /
第五章 阅读和演出的地方谱系： 孔庙、劳改场与中苏合作剧场 /
第四部 后现代东方莎士比亚
第六章 再论中国戏曲莎剧的吊诡 /
第七章 典范的扬弃与重建： 吴兴国与赖声川 /

Full text: https://theinitium.com/article/20151202-culture-teatime-performance/

Analysis of the stage production of "One Hundred Years of Chinese Architecture" (Zhonguo jianzhu yibai nian), written by Jimmy Ngai and Mathias Woo, directed by Mathias Woo. Zuni Icosahedron (Hong Kong) production, 2015.



This is an edited version (translated by Pamela Tsui) of “A Tale of Two Centuries: One Hundred Years of Chinese Architecture as a Reflection on Chinese Modernization” (English) / Liang ge shiji de duizhao: "Zhongguo jianzhu yibai nian" dui Zhongguo xiandaihua de fansi 兩個世紀的對照：「中國建築一百年」對中國現代化的反思 (Chinese), published in the production programme in December 2015.
Full version in English and Chinese: http://issuu.com/zuni_icosahedron/docs/100_yrs_of_chin_arch_2015_prog_note

Programme note for the 2015 Zuni Icosahedron stage production of "One Hundred Years of Chinese Architecture" (Zhonguo jianzhu yibai nian, by Mathias Woo and Jimmy Ngai, dir. Mathias Woo), which juxtaposes the real-life stories of contemporary real estate developers Zhang Xin and Pan Shiyi and modern China's foremost "architectural couple", Liang Sicheng and Lin Huiyin, to reflect on Chinese modernization from the twentieth to the twenty-first century. Chinese translation by Pamela Tsui.

https://issuu.com/zuni_icosahedron/docs/100_yrs_of_chin_arch_2015_prog_note

This article offers an analysis of 'The Revolutionary Opera', performed by avant-garde Hongkong theatre/dance company Zuni Icosahedron in 1991. What productions like 'Revolutionary Opera' offer us is a concern about the homogenising tendencies that accompany the blurring of the distinction between civil society and state (both in its capitalist form of rule by a bureaucratic-corporate elite and in its communist form of rule by a centralised state planning appartus) and a concern with strategies that might stem those tendencies. Any critique of this centralisation, instanced in the figures of the Beijing opera performer, the ballet dancer, the actress in a model opera and Jiang Qing as Empress, also entails a disenchantment with the political systems that fetishise such figures as nationalistic icons supporting different versions of their various grand traditions.