Claire Conceison
Biographic Data
| ID | 1260627 |
|---|---|
| NAME | Claire Conceison |
| GIVEN NAMES | Claire |
| FAMILY NAME | Conceison |
| SIGNATURE | CONCEISON C |
| AFFILIATIONS | Claire Conceison (康开丽) is Professor of Theater Studies and Asian and Middle Eastern Studies at Duke University, where she teaches contemporary Chinese theatre, Asian American theatre, translation, and sport as performance. She is a translator and director, and author of Significant Other: Staging the American in China (University of Hawai'i, 2004) and coauthor with Ying Ruocheng of his autobiography Voices Carry: Behind Bars and Backstage During China's Revolution and Reform (Rowman and Littlefield,... |
| VERIFIED | No |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 12 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1994 |
| LATEST PUBLICATION YEAR | 2017 |
| H-INDEX | 1 |
Significant Other
Chinese views of the United States have shifted dramatically since the 1980s, with changes in foreign relations, increased travel of Chinese citizens to the U.S., and wide circulation of American popular culture in China. Significant Other explores representations of Americans that emerged onstage in China between 1987 and 2002 and considers how they function as racial and cultural stereotypes, political strategy, and artistic innovation. Based o…
A New Literary History of Modern China
China's Experimental Mainstream
Meng Jinghui has been the most important experimental theatre director in the People's Republic of China for the past two decades, with an increasingly global presence. The success and popularity of his productions challenge conventional notions of the avantgarde and persistent dichotomies of official vs. unofficial networks and discourses. His cool “badass” persona and aesthetic have become recognizable trademarks of his work, which includes ada…
Behind the Play
The dramaturgy of Nick Rongjun Yu, the most prolific playwright in China, has been omitted from English-language anthologies and is overlooked by many Beijingcentric scholars, but his plays written during the past decade have been staged more than those of any other living Chinese playwright. He is deputy general manager of the Shanghai Dramatic Arts Centre (SDAC) and also its long-time director of publicity, marketing, and programming. As a writ…
Behind the Lie
Behind the Lie1 Nick Rongjun Yu2 (bio) Translated by Claire Conceison3 TIME: The present LOCATION: A place suitable for interrogations CHARACTERS: POLICEMAN, police detective, male, 30-40 years old. The interrogator DOCTOR, psychiatrist, male, 35-45 years old. The interrogated [End Page 323] Scene One Lights up on a simple but constrained interrogation room, with several large pipes inexplicably cutting across the ceiling, making one feel stifled…
The Crucible, and
Reviewed by: The Crucible, and: 4.48 Psychosis, and: King Lear, and: The Scholar and The Executioner, and: Crows and Sparrows Claire Conceison The Crucible. By Arthur Miller . Directed by Zhang Dasheng . 4.48 Psychosis. By Sarah Kane . Directed by Xiong Yuanwei . King Lear. By William Shakespeare . Directed by David Tse Ka-Shing . The Scholar and The Executioner. By Huang Weiruo . Directed by Guo Xiaonan . Crows and Sparrows. By Zhao Huanan . Dir…
Gao Xingjian and Transcultural Chinese Theatre (review)
Reviewed by: Gao Xingjian and Transcultural Chinese Theatre Claire Conceison Gao Xingjian and Transcultural Chinese Theatre. By Sy Ren Quah. Honolulu: University of Hawaii Press, 2004; pp. xi + 225. $48.00 cloth. Gao Xingjian is the first contemporary Chinese playwright to enter the Western canon, as evidenced by his winning of the 2000 Nobel Prize for Literature; the translation of his works into numerous languages (including English); and the i…
What's New-and Renewed-Onstage in China
This new feature of TDR presents reports on various performances and artists. In this issue we offer an account of the 2002 Chinese theatre season, a performance rumination on the atomic bomb and 9/11, the experience of groupies at a parodic “cock-rock” concert, and a selection of performative haikus composed by a San Francisco performance artist
International Casting in Chinese Plays
China's two primary urban centers for training and performance of huaju (spoken drama) are Beijing and Shanghai, with the phrases "jingpai" and "haipai" (translated loosely as "Beijing School" and "Shanghai School") often used to distinguish their unique qualities and aesthetic differences. This essay examines how the conventional categories of jingpai and haipai are reflected in recent efforts by directors in both cities to introduce the practic…
The Occidental Other on the Chinese Stage
Guo Shixing's 1991 play Bird Men, widely regarded as an outstanding recent example of huaju (modern spoken drama), is concerned with the clash of Chinese and American cultures as reflected in the interactions of a varied group gathered in a Beijing park where local citizens engage in raising and training birds. Claire Conceison's essay explores the play's provocative cultural and political themes, particularly those that concern the Chinese view …
Translating Collaboration
On 6 August 1993 stage production of TheJoy Luck Club heralded as a cultural mixing (Wachs-Book 1993:31) opened at the Shanghai Centre Theatre. A brief description of the East-West Ping-Pong that brought the play to fruition indeed lends the impression of thorough collaboration, but deeper scrutiny reveals that fundamental issues at the heart of intercultural theatre were tangled in the web of the project. At the least, TheJoy Luck Club should le…
The Main Melody Campaign in Chinese Spoken Drama
For many who study Chinese politics and history, June Fourth has become a common point of reference, one marking a new political phase as well as a momentous historical event. ' The aftermath of the crackdown in Beijing also constituted a distinct stage in the arts, a period of renewed efforts at ideological indoctrination and rigid censorship. Though this control has eased significantly with the flood of economic reforms triggered by Deng Xiaopi…
Behind the Lie
Behind the Lie1 Nick Rongjun Yu2 (bio) Translated by Claire Conceison3 TIME: The present LOCATION: A place suitable for interrogations CHARACTERS: POLICEMAN, police detective, male, 30-40 years old. The interrogator DOCTOR, psychiatrist, male, 35-45 years old. The interrogated [End Page 323] Scene One Lights up on a simple but constrained interrogation room, with several large pipes inexplicably cutting across the ceiling, making one feel stifled…
International Casting in Chinese Plays
China's two primary urban centers for training and performance of huaju (spoken drama) are Beijing and Shanghai, with the phrases "jingpai" and "haipai" (translated loosely as "Beijing School" and "Shanghai School") often used to distinguish their unique qualities and aesthetic differences. This essay examines how the conventional categories of jingpai and haipai are reflected in recent efforts by directors in both cities to introduce the practic…
The Main Melody Campaign in Chinese Spoken Drama
For many who study Chinese politics and history, June Fourth has become a common point of reference, one marking a new political phase as well as a momentous historical event. ' The aftermath of the crackdown in Beijing also constituted a distinct stage in the arts, a period of renewed efforts at ideological indoctrination and rigid censorship. Though this control has eased significantly with the flood of economic reforms triggered by Deng Xiaopi…
Translating Collaboration
On 6 August 1993 stage production of TheJoy Luck Club heralded as a cultural mixing (Wachs-Book 1993:31) opened at the Shanghai Centre Theatre. A brief description of the East-West Ping-Pong that brought the play to fruition indeed lends the impression of thorough collaboration, but deeper scrutiny reveals that fundamental issues at the heart of intercultural theatre were tangled in the web of the project. At the least, TheJoy Luck Club should le…
The Occidental Other on the Chinese Stage
Guo Shixing's 1991 play Bird Men, widely regarded as an outstanding recent example of huaju (modern spoken drama), is concerned with the clash of Chinese and American cultures as reflected in the interactions of a varied group gathered in a Beijing park where local citizens engage in raising and training birds. Claire Conceison's essay explores the play's provocative cultural and political themes, particularly those that concern the Chinese view …
International Casting in Chinese Plays
China's two primary urban centers for training and performance of huaju (spoken drama) are Beijing and Shanghai, with the phrases "jingpai" and "haipai" (translated loosely as "Beijing School" and "Shanghai School") often used to distinguish their unique qualities and aesthetic differences. This essay examines how the conventional categories of jingpai and haipai are reflected in recent efforts by directors in both cities to introduce the practic…
What's New-and Renewed-Onstage in China
This new feature of TDR presents reports on various performances and artists. In this issue we offer an account of the 2002 Chinese theatre season, a performance rumination on the atomic bomb and 9/11, the experience of groupies at a parodic “cock-rock” concert, and a selection of performative haikus composed by a San Francisco performance artist
Gao Xingjian and Transcultural Chinese Theatre (review)
Reviewed by: Gao Xingjian and Transcultural Chinese Theatre Claire Conceison Gao Xingjian and Transcultural Chinese Theatre. By Sy Ren Quah. Honolulu: University of Hawaii Press, 2004; pp. xi + 225. $48.00 cloth. Gao Xingjian is the first contemporary Chinese playwright to enter the Western canon, as evidenced by his winning of the 2000 Nobel Prize for Literature; the translation of his works into numerous languages (including English); and the i…
The Crucible, and
Reviewed by: The Crucible, and: 4.48 Psychosis, and: King Lear, and: The Scholar and The Executioner, and: Crows and Sparrows Claire Conceison The Crucible. By Arthur Miller . Directed by Zhang Dasheng . 4.48 Psychosis. By Sarah Kane . Directed by Xiong Yuanwei . King Lear. By William Shakespeare . Directed by David Tse Ka-Shing . The Scholar and The Executioner. By Huang Weiruo . Directed by Guo Xiaonan . Crows and Sparrows. By Zhao Huanan . Dir…
Behind the Play
The dramaturgy of Nick Rongjun Yu, the most prolific playwright in China, has been omitted from English-language anthologies and is overlooked by many Beijingcentric scholars, but his plays written during the past decade have been staged more than those of any other living Chinese playwright. He is deputy general manager of the Shanghai Dramatic Arts Centre (SDAC) and also its long-time director of publicity, marketing, and programming. As a writ…
Behind the Lie
Behind the Lie1 Nick Rongjun Yu2 (bio) Translated by Claire Conceison3 TIME: The present LOCATION: A place suitable for interrogations CHARACTERS: POLICEMAN, police detective, male, 30-40 years old. The interrogator DOCTOR, psychiatrist, male, 35-45 years old. The interrogated [End Page 323] Scene One Lights up on a simple but constrained interrogation room, with several large pipes inexplicably cutting across the ceiling, making one feel stifled…
China's Experimental Mainstream
Meng Jinghui has been the most important experimental theatre director in the People's Republic of China for the past two decades, with an increasingly global presence. The success and popularity of his productions challenge conventional notions of the avantgarde and persistent dichotomies of official vs. unofficial networks and discourses. His cool “badass” persona and aesthetic have become recognizable trademarks of his work, which includes ada…
Significant Other
Chinese views of the United States have shifted dramatically since the 1980s, with changes in foreign relations, increased travel of Chinese citizens to the U.S., and wide circulation of American popular culture in China. Significant Other explores representations of Americans that emerged onstage in China between 1987 and 2002 and considers how they function as racial and cultural stereotypes, political strategy, and artistic innovation. Based o…
A New Literary History of Modern China
Art (10 works) · History (10 works) · Literature (8 works) · China (7 works) · History (7 works) · Theatre and Performance Studies (7 works) · Philosophy (5 works) · Sociology (5 works) · Archaeology (4 works) · Art history (4 works)