Camp Aesthetics and Nostalgia in Postcolonial Taiwan: A Study of Huang Xianglian’s Solo Romeo and Juliet and The Golden Bough Theatre’s Romeo and Juliet
Date Issued
2012
Date
2012
Author(s)
Liao, Zou-Han
Abstract
This research attempts to offer the intersection of camp, nostalgia and the postcolonial as a conceptual framework for the analysis of the camp aesthetics and nostalgia in Huang Xianglian’s Solo Romeo and Juliet and The Golden Bough Theatre’s Romeo and Juliet. Both productions stumbled upon Shakespeare in art festivals and took place in competitive ambience. Huang’s Solo was part of the mini drama festival entitled “Solo, Experimenting Traditional Chinese Operas” while The Golden Bough Theatre’s Romeo and Juliet premiered in the drama festival “Shakespeare in Taipei.” While Huang resorted to modernized Taiwanese Opera for artistic form, The Golden Bough Theatre turned to the once debased cultural abject, Taiwanese Opeila, for creative inspiration, invoking its aesthetics as possible artistic forms. As Huang’s Solo and The Golden Bough Theatre’s Romeo and Juliet stumbled upon Shakespeare, disparate nostalgic sentiments and a shared campiness arose. This research pays particular attention to the acting style and artistic intentions in these productions, striving to analyze the complex interplay of camp and nostalgia in their invocation of modernized Taiwanese Opera or Taiwanese Opeila aesthetics in postcolonial Taiwan.
Subjects
Huang Xianglian
The Golden Bough Theatre
camp
nostalgia
the postcolonial
Type
thesis
File(s)![Thumbnail Image]()
Loading...
Name
ntu-101-R96129010-1.pdf
Size
23.54 KB
Format
Adobe PDF
Checksum
(MD5):079cbcec69e58904b9c8805e6871c222