The Solo Performances of Winston Tong
Bibliographic Data
| ID | 8917999 |
|---|---|
| Authors | Eileen Blumenthal (corresponding author) |
| Year | 1979 |
| Volume | 23 |
| Issue | 1 |
| Pages | 87-94 |
| Publication date | 1979-03-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | The Drama Review TDR (JOURNAL) |
| Journal identifiers | ISSN: 0012-5962 • E-ISSN: 2326-2060 |
| Publisher | The MIT Press (PUBLISHER • US) |
| DOI | 10.2307/1145249 |
| OpenAlex | W2795551307 |
| Language | EN |
| Citations received | 1 |
Winston Tong's solo theatre works—he has created more than half a dozen—meld widely divergent forms and sensibilities: his extreme economy of means is akin to types of traditional Chinese theatre; his use of puppets, dolls, and silhouettes recalls elements of Japanese Bunraku and Javanese shadow puppets; and his startling, pervasive eroticism has roots in nineteenth century French Symbolism. “A Rimbaud,” which dates from 1976, Is a phantasmagory of tortured sensuality. It came, Tong says, “out of terrible alienation and a desire to make connection with some more ethereal thing. I wondered what love was. And I was kind of anguished.” Seven small votive candles are lit as footlights. Then Tong quietly, solemnly walks on stage carrying an overnight-size black suitcase
Alienation · Art · Art history · Dozen · Eroticism · Human sexuality · Literature · Psychoanalysis · Shadow (psychology · Sociology · Gender Studies · History · Law · Psychology · Theatre and Performance Studies
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,04 |
| Citation span | 2003 - 2003 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |