Pure love and beyond: Suzuki Tadashi's use of Taiwanese popular music in la Dame aux Camélias (2011)

Research output: Contribution to journalArticle

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 languageEnglish
Pages (from-to)204-227
Number of pages24
JournalAsian Theatre Journal
Volume31
Issue number1
DOIs
Publication statusPublished - 2014 Jan 1

Fingerprint

Popular music
Taiwanese
Taiwan
Love Story
National Literature
Postdramatic Theatre
Allegory
Postcoloniality
Popular Song
Gilles Deleuze
Popular Entertainment
Comedies
National Theatre

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 journalArticle

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