Abstract:Despite the many publications discussing Gao Xingjian’s theatre, his engagement with tragedy in the 1990 play Escape [ Taowang ] has not generated a substantial critical enquiry. Departing from the concept of “infra-tragedy,” briefly used by Izabella Łabędzka in Gao Xingjian’s Idea of Theatre to categorize Gao’s pre- and post-exile plays, this paper will investigate the relationship between Gao’s notion of “tragic modernity” and its concrete dramatization, thereby embracing Hans-Thies Lehmann’s proposition in … Show more
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