Eddie Hanchen Feng
Biographic Data
| ID | 9694792 |
|---|---|
| NAME | Eddie Hanchen Feng |
| GIVEN NAMES | Eddie Hanchen |
| FAMILY NAME | Feng |
| SIGNATURE | FENG E H |
| AFFILIATIONS | Central Academy of Drama |
| ORCID | 0000-0002-5463-3490 |
| VERIFIED | Yes |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2022 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
Ghostwriting the Stage
This article examines the uncanny impact of artificial intelligence in theatre-making by way of China’s first AI–written play, AI: Offending the audience. Drawing on hauntology, spectrality and Mark Fisher’s account of the ‘eerie,’ the article reconsiders AI not as a neutral tool but as a ghostwriter dwelling in the liminal space between mimicry and autonomous creativity, calling entrenched concepts of intent and authenticity into question. It ar…
Materializing Habit to Make Visible
This article investigates how the performance of Lloyd Suh’s The Chinese Lady foregrounds the matter of visibility as a construct shaped by habitual patterns of perception, which in turn frames cultural bodies in ways that are marginalized, obscured and often misunderstood. Through the lens of habit, this play reveals how entrenched ways of seeing contribute to ‘habitual suffering’, the phenomenon where repeated exposure to simplified cultural re…
Of Barriers and Transits
This article discusses the first Peking Opera presentations in Brazil, in 1956. Traveling from the then-recently founded People’s Republic of China, the Chinese Art Troupe demonstrated the country’s diplomatic efforts to obtain international recognition and was enthusiastically welcomed by Brazilian audiences. After presenting the peculiar immediate reception of the touring company, we argue that although Chinese scenic conventions and aesthetics…
No prominent works on this page.
Of Barriers and Transits
This article discusses the first Peking Opera presentations in Brazil, in 1956. Traveling from the then-recently founded People’s Republic of China, the Chinese Art Troupe demonstrated the country’s diplomatic efforts to obtain international recognition and was enthusiastically welcomed by Brazilian audiences. After presenting the peculiar immediate reception of the touring company, we argue that although Chinese scenic conventions and aesthetics…
Materializing Habit to Make Visible
This article investigates how the performance of Lloyd Suh’s The Chinese Lady foregrounds the matter of visibility as a construct shaped by habitual patterns of perception, which in turn frames cultural bodies in ways that are marginalized, obscured and often misunderstood. Through the lens of habit, this play reveals how entrenched ways of seeing contribute to ‘habitual suffering’, the phenomenon where repeated exposure to simplified cultural re…
Ghostwriting the Stage
This article examines the uncanny impact of artificial intelligence in theatre-making by way of China’s first AI–written play, AI: Offending the audience. Drawing on hauntology, spectrality and Mark Fisher’s account of the ‘eerie,’ the article reconsiders AI not as a neutral tool but as a ghostwriter dwelling in the liminal space between mimicry and autonomous creativity, calling entrenched concepts of intent and authenticity into question. It ar…
Theatre and Performance Studies (2 works) · Aesthetics (1 work) · Archaeology (1 work) · Art (1 work) · Art history (1 work) · Art Therapy and Mental Health (1 work) · Asian Culture and Media Studies (1 work) · China (1 work) · Cinema and Media Studies (1 work) · Habit (1 work)