Gao Xingjian’s 高行健 2000 Nobel Prize win is a commonly cited example of the global literary market’s “technologies of recognition,” where the West acts as an “agent of recognition,” which recognizes the other according to its own standards, while the non-West is an “object of recognition,” that desires to be recognized. Rather than presuming the passivity of Gao’s reproduction of Western cultural dominance, I am more interested in exploring how he actively reconstructs Chinese culture with Orientalist elements. For example, Of Mountains and Seas (Shanhaijing zhuan 山海經傳 1989) and Snow in August (Bayuexue 八月雪 1997) are two plays which Gao completed in France and which appropriates ancient Chinese cultures. With reference to Gao’s “cold” (leng 冷) theatrical techniques of suppositionality (jiadingxing 假定性) and tripartite acting (biaoyan de sanchongxing 表演的三重性), I argue that these two plays address feminist and religious limitations in ancient Chinese cultures by strategically appropriating Orientalist stereotypes in their portrayals of the Chinese mythology of Chang E escaping to the moon (Chang E benyue 嫦娥奔月) and Zen Buddhism respectively. Overall, this paper contributes a more nuanced understanding of Gao’s negotiations with Orientalism:Gao’s “escape” from Orientalism is less about the avoidance of Orientalism than atheatrical staging of Orientalism.

尊敬的读者：
欢迎您访问我们的网站。本站的初衷是为大家提供一个共享学习资料、交换知识的平台。每位用户都可以将文件上传至网盘并分享。
然而，随着用户上传的资料增多，我们发现部分不宜或版权问题的书籍被分享到了本站。
为此，我们已经关闭了分享入口，并进行了多次书籍审查，但仍有部分内容未能彻底审查到位。
在此，我们恳请广大读者与我们共同监督，如发现任何不宜内容，请 点击此处 进行举报，我们会第一时间处理并下架相关内容。
希望我们能共建一个文明社区！感谢您的理解与支持！