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Gao Xingjian Vs. Martin Crimp in Between Modernism and Postmodernism

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Gao Xingjian Vs. Martin Crimp in Between Modernism and Postmodernism GAO XINGJIAN VS. MARTIN CRIMP IN BETWEEN MODERNISM AND POSTMODERNISM MARY MAZZILLI SOAS School of Oriental and African Studies, University of London PHD (Doctor of Philosophy) ProQuest Number: 10731699 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731699 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 ABSTRACT This thesis deals with the plays by Gao Xingjian- a Chinese contemporary playwright and Nobel Prize winner for literature in 2000- and Martin Crimp a contemporary English playwright. The plays from both authors will be looked at from a comparative perspective within the theoretical framework linked to the debate between modernism and postmodernism, as inspired by Calinescu’s theory. Calinescu’s theory is based on the idea that Postmodernism is a ‘face of modernism’: he speaks about recurrent aspects (‘similarities’) of Modernism in Postmodernism, not only in terms of the repetition of patterns from the past in the present culture, but in terms of a natural historical evolution of Modernism into new cultural forms. The aim of this thesis is, therefore, to prove Calinescu’s idea of continuity between Modernism and Postmodernism through the work by the two playwrights and by doing this it inevitably demonstrates a link between two writers coming from two different continents, hence a connection between Eastern and Western Literature. This thesis carries out an investigation into the two writers’ dramatic texts and searches for signs of modern and postmodern elements and highlights how these elements coexist. In particular, in each chapter the thesis will carry out a close reading analysis of one or more plays by each author: in the case of Gao, we focus on post-exile plays, written after he left China in 1986 and are analysed chronologically; in the case of Crimp, the plays in question are not in strict chronological order but almost in parallel order to Gao’s plays as they were written from the 1990s up to the present day. 3 ACKNOWLEDGEMENTS I would like to thank my supervisor Prof. Michel Hockx for his guidance with this thesis and Dr. Henry Zhao for introducing me to the work of Gao Xingjian and his support in the early stages of my research. Thanks to Aleks Sierz for providing very useful information about Martin Crimp’s theatre and Howard Gooding for introducing me to Martin Crimp. Thanks to Martin Crimp for his inspiring conversation about his work and Simon Stephens for introducing me to Martin Crimp’s theatre and the Royal Court Theatre Young Writers Group. I am very grateful to Prof. Harriet Evans (University of Westminster) for her encouragement in pursuing my academic career and Dr. Lars Laman for introducing me to Chinese Literature. Thanks to Prof. Peter Dunwoodie (Goldsmith College, University of London) who gave me the opportunity to teach for one year in his department. I also would like to thank Rachael Benoit and Victoria Leich for their advice on my writing. A big thank to the troupe of the University of Hertfordshire Student Union where I have been working since starting the PhD and in particular my Line Manager Craig Stephens and UHSU General Manager Mike Veal for the flexibility they showed in the past years and for allowing me to use the work computer to study. Amongst friends thanks to Caroline, Bridget, Gillian, Evelina, Mina and Sister Rosalie for all her prayers. Thanks to my partner David for his patience and the missed holidays. Special thanks go to my sisters Annarita and Francesca for their valuable emotional and practical support in the past years but especially in the final months of this academic adventure...! Thanks to my parents in particular my Mum that has always believed in me and kept me on my feet especially in the shaky moments of this journey; I would have never made it without you.. ..this is for you! To everyone who has been there for me along the way, thank you for your faith in my abilities. 4 Table of Contents Abstract 3 Acknowledgments 4 CHAPTER 1: Theoretical framework and Gao Xingjian’s ‘new’ theatre 7 1.1 Gao Xingjian 7 1.2 Martin Crimp 8 1.3 The comparative approach 10 1.4 Terms of the comparative study 12 1.4.1 Theoretical framework: Postmodernism - Calinescu’s interpretation 12 1.4.2 Beyond Calinescu: the Modern-Postmodern debate 14 1.4.3 Modern and Postmodern theatre 19 1.4.4 Postmodernism in China 21 1.4.5 Modem and Postmodern theatre in the West 22 1.4.6 Modern and Postmodern Theatre in China 25 1.5 Gao Xingjian’s theatre changes with The Other Shore 35 1.5.1 Postmodern elements 42 1.5.2 A modernistic approach 45 1.6 The framework of the textual analysis 50 CHAPTER 2: Between Life and Death - development of tripartition and the idea of the ‘originary self* in comparison with Martin Crimp’s Attempts on Her Life 55 2.1 BetM^een Life and Death 55 2.1.1 Life and death 5 6 2.1.2 Narration/reality 63 2.1.3 Man/woman binary opposition: gender discourse 68 2.2 Martin Crimp’s Attempts on Her Life 11 2.2.1 Critics’reception and productions 77 2.2.2 Definition of the play 79 2.2.3 Structure and narrative 80 2.2.4 Language and self-referentiality 87 2.2.5 The gender debate 92 2.3 Conclusive remarks 98 CHAPTER 3: Dialogue and Rebuttal - the making of the ‘spiritual’ and gender deconstruction in comparison with Martin Crimp’s The Country 100 3.1 Dialogue and Rebuttal 100 3.1.1 Life and death 100 3.1.2 Language 108 3.1.3 Gender 111 3.2 Comparison of Crimp’s The Country with Gao’s Dialogue and Rebuttal 116 3.2.1 The relationship between spiritual and ritual 116 3.2.2 Reality/representation and language 123 3.2.3 Dichotomy between man and woman 131 3.3 Postmodernism and Modernism in Gao’s and Crimp’s play: similarities and differences 136 CHAPTER 4: Nocturnal wanderer, the abandonment of the Zen theatre in favour of a more Western negativity - in comparison 5 with Martin Crimp’s Plays with Repeats 139 4.1 Nocturnal wanderer 140 4.1.1 The spiritual 140 4.1.2 Language 150 4.1.3 Gender 156 4.2 Martin Crimp’s Play with Repeats 162 4.2.1 A journey though the past 163 4.2.2 Theatrical representation: the structure of the play; subjectivity and the self-referential function of language 171 4.2.3 Gender discourse 179 4.3 Comparison 184 CHAPTER 5: The exhaustion of experimentation 188 5.1 Weekend Quartet versus Whole Blue Sky ; abandonment of Zen values in search of a new modernity versus radicalisation of postmodernism 188 5.1.1 The relationship real/surreal to ritual/spiritual 189 5.1.2 Language and subj ectivity 201 5.1.3 Representation of gender roles 208 5.1.4 Martin Crimp: Whole Blue Sky 217 5.1.5 The main theme of the play 217 5.1.6 Representation and subj ectivity 219 5.1.7 Gender 223 5.2 The Death Collector 227 5.2.1 Death and spiritual 227 5.2.2 Self-referentiality and subjectivity 234 5.2.3 Martin Crimp’s Fewer Emergencies 237 5.2.4 Death and the spiritual 237 5.2.5 Subjectivity and representation 239 5.3 Concluding remarks 241 CONCLUSION 244 BIBLIOGRAPHY 249 6 A CHAPTER 1 Theoretical framework and Gao Xingjian’s ‘new’ theatre This thesis deals with the plays by Gao Xingjian, a Chinese contemporary playwright and Nobel Prize winner for literature in 2000, and Martin Crimp a contemporary English playwright. The plays from both authors will be looked at from a comparative perspective within the theoretical framework linked to the debate between Modernism and Postmodernism, as inspired by Calinescu’s theory. The aim of this thesis is, therefore, to prove Calinescu’s idea of continuity between Modernism and Postmodernism through the work of the two playwrights, which will inevitably demonstrate a link between two writers coming from two different continents, hence a connection between Eastern and Western literature. This thesis carries out an investigation into the two writers’ dramatic texts and searches for signs of Modern and Postmodern elements and highlights how these elements coexist. Before going into detail on the theoretical approach and background of this thesis, a brief outline of the two playwrights’ careers will be given as well of the motives inspiring the comparative approach. 1.1. Gao Xingjian Gao Xingjian was bom in 1940 in Guanzhou, Jang Xi province. He studied French at the Beijing Foreign Languages Institute and went on to become a translator for the Chinese Writers Association, having spent ten years previous to this in a re­ education camp during the Cultural Revolution (1966-76). Subsequently he became playwright in residence at the People's Art Theatre in Beijing in 1978, where he produced experimental and ground-breaking plays, such as Alarm Signal (1982) and Bus Stop (1983), the latter seemingly being inspired by Beckett’s Waiting for Godot .
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