Abstract
La Dame aux Camélias is Suzuki Tadashi's first collaboration with Taiwan's National Theatre. Interlacing the well-known love story with Taiwanese popular music, Suzuki's Camélias should be read with his previous works as well as Taiwan's social and political context in which the production took place. This article examines the complexity brought by extratextual narrative in Suzuki's selection of popular songs and discusses how Suzuki turned the love story into an allegory of Taiwan's contested postcoloniality. Lia Wen-Ching Liang is an assistant professor in the Department of Foreign Languages and Literature, National Tsing Hua University, Taiwan. Her research areas include intercultural theatre, postdramatic theatre, popular entertainment musical comedies, and Deleuze studies.
| Original language | English |
|---|---|
| Pages (from-to) | 204-227 |
| Number of pages | 24 |
| Journal | Asian Theatre Journal |
| Volume | 31 |
| Issue number | 1 |
| DOIs | |
| Publication status | Published - 2014 Jan 1 |
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ASJC Scopus subject areas
- Visual Arts and Performing Arts
Cite this
Pure love and beyond : Suzuki Tadashi's use of Taiwanese popular music in la Dame aux Camélias (2011). / Liang, Lia Wen Ching.
In: Asian Theatre Journal, Vol. 31, No. 1, 01.01.2014, p. 204-227.Research output: Contribution to journal › Article
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TY - JOUR
T1 - Pure love and beyond
T2 - Suzuki Tadashi's use of Taiwanese popular music in la Dame aux Camélias (2011)
AU - Liang, Lia Wen Ching
PY - 2014/1/1
Y1 - 2014/1/1
N2 - La Dame aux Camélias is Suzuki Tadashi's first collaboration with Taiwan's National Theatre. Interlacing the well-known love story with Taiwanese popular music, Suzuki's Camélias should be read with his previous works as well as Taiwan's social and political context in which the production took place. This article examines the complexity brought by extratextual narrative in Suzuki's selection of popular songs and discusses how Suzuki turned the love story into an allegory of Taiwan's contested postcoloniality. Lia Wen-Ching Liang is an assistant professor in the Department of Foreign Languages and Literature, National Tsing Hua University, Taiwan. Her research areas include intercultural theatre, postdramatic theatre, popular entertainment musical comedies, and Deleuze studies.
AB - La Dame aux Camélias is Suzuki Tadashi's first collaboration with Taiwan's National Theatre. Interlacing the well-known love story with Taiwanese popular music, Suzuki's Camélias should be read with his previous works as well as Taiwan's social and political context in which the production took place. This article examines the complexity brought by extratextual narrative in Suzuki's selection of popular songs and discusses how Suzuki turned the love story into an allegory of Taiwan's contested postcoloniality. Lia Wen-Ching Liang is an assistant professor in the Department of Foreign Languages and Literature, National Tsing Hua University, Taiwan. Her research areas include intercultural theatre, postdramatic theatre, popular entertainment musical comedies, and Deleuze studies.
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U2 - 10.1353/atj.2014.0015
DO - 10.1353/atj.2014.0015
M3 - Article
AN - SCOPUS:84898800880
VL - 31
SP - 204
EP - 227
JO - Asian Theatre Journal
JF - Asian Theatre Journal
SN - 0742-5457
IS - 1
ER -