by Xingjian Gao
Appendix A
Plays Written by Gao Xingjian
1982 Absolute Signal《絕對信號》
1983 Bus Station《車站》
1984 Modern Shorts《現代折子戲》:
The Imitator《模仿者》
Hiding from the Rain《躲雨》
Tough Walk《行路難》
The Pass at Mount Habala《喀巴拉山口》
1985 Soliloquy《獨白》
1985 Wilderness Man《野人》
1986 The Other Shore《彼岸》
1987 Hades《冥城》
1989 The Story of the Classic of Seas and Mountains《山海經傳》
1989 Exile《逃亡》
1991 Between Life and Death《生死界》
1992 Dialogue and Rebuttal《對話與反詰》
1993 Nocturnal Wanderer《夜遊神》
1995 Weekend Quartet《周末四重奏》
Appendix B
Selected Criticism on
Gao Xingjian’s Plays
Chinese
Barmé, Geremie. “Bufang huangdan yixia—Jieshao Gao Xingjian he tade zuopin Chezhan” 〈不妨荒誕一下—介紹高行健和他的作品《車站》〉(It Does not Matter to be a Bit Absurd—An Introduction to Gao Xingjian and His Bus Station).—Trans. by Zhang Zebo 張澤波.《香港文學》, 9 (1985).
Beijing Renmin Yishu Juyuan Juedui Xinhao Juzu 北京人民藝術劇院《絕對信號》劇組, ed. “Juedui xinhao” wutai yishu tansuo〈《絕對信號》舞臺藝術探索〉 (Explorations into the Dramaturgy of Absolute Signal). Beijing: 中國戲劇出版社, 1985.
Chen, Fangzheng 陳方正. “Lingshan zhiwai de shengsijie—juzuojia Gao Xingjian yinxiangji” 〈《靈山》之外的生死界—劇作家高行健印象記〉 (The Boundary Between Life and Death Beyond Spiritual Mountain—Impressions of the Dramatist Gao Xingjian).《信報》(Hong Kong), 26 Oct. 1993.
Chen, Ganquan 陳敢權. “Cong Shengsijie kan Gao Xingjian de xiju lilun” 〈從《生死界》看高行健的戲劇理論〉 (A Look at Gao Xingjian’s Theory of Drama from the point of view of Between Life and Death). Dramatic Arts《戲劇藝術》(Hong Kong: 香港演藝學院), 9 (1995).
Chen, Liyin 陳麗音. “Shengsijie yu Gao Xingjian de xijuguan” 〈《生死界》與高行健的戲劇觀〉 (Between Life and Death and Gao Xingjian’s View on Drama). Paper presented at the “International Conference on World Chinese Playwriting” held at The Chinese University of Hong Kong, December 1993.
Chen, Shouzhu 陳瘦竹. “Tan huangdan xijude shuailuo ji qi zai woguode yingxiang” 〈談荒誕戲劇的衰落及其在我國的影響〉 (The Decline of the Theatre of Absurd and Its Influence in China).《社會科學評論》, 11 (1985).
Da, Yong 大勇. “Gao Xingjian xinzuo Yeren” 〈高行健新作《野人》〉 (Wilderness Man, A New Play by Gao Xingjian).《劇本》, 7 (1985).
Ding, Yangzhong 丁楊忠. “Tanlu—Juedui xinhao ji qita” 〈探路—《絕對信號》及其他〉 (Asking the Way—Absolute Signal and Other Opinions).《劇壇》, 2 (1983).
Ding, Yisan, Qu Liuyi, Tong Daoming, Su Yu, and Zhao Huan 丁一三、曲六乙、童道明、蘇予、趙寰. “Dui you zhengyide huaju jubende zhengyi—Zhongguo Xiju Wenxue Xuehui zhaokai you zhengyide huaju juben taolunhui fayan jiyao” 〈對有爭議的話劇劇本的爭議—中國戲劇文學學會召開有爭議的話劇劇本討論會發言紀要〉 (The Controversy Surrounding Controversial Drama—A Summary of the Speeches Delivered at the Seminar on Controversial Drama Organized by the China Society of Studies on Dramatic Literature ).《劇本》, 7 (1985).
Du, Qingyuan 杜清源. “Huajude tezheng yu huajude biange” 〈話劇的特徵與話劇的變革〉 (Drama: Its Characteristics and Changes).《文藝通訊》, 11 (1984).
“Dui wutai zhenshide zhizhe zhuiqiu” 〈對舞台真實的執著追求〉 (The Earnest Pursuit of Realism on Stage).《作品與爭鳴》, 3 (1983).
Fengzi 鳳子. “Kan Yeren” 〈看《野人》〉 (On Wilderness Man).《光明日報》, 13 June 1985.
Gao, Wo 高臥. “Xiaoyi Juedui xinhao xiao juchang yanchu” 〈小議《絕對信號》小劇場演出〉 (Absolute Signal Performed in a Small Theatre: A Preliminary Discussion).《戲劇報》, 13 (1982).
“Guanyu Chezhan de zhengming” 〈關於《車站》的爭鳴〉 (The Controversy Surrounding Bus Station).《戲劇論叢》, 3 (1984).
“Guanyu jige huajude zhengming (Juedui xinhao he Chezhan)” 〈關於幾個話劇的爭鳴（《絕對信號》和《車站》）〉 (The Controversy Surrounding Certain Plays [Absolute Signal and Bus Station]).《劇本》, 2 (1985).
He, Yan 何閻. “Huaju Chezhan guanhou” 〈話劇《車站》觀後〉 (Written After Seeing Bus Station).《文藝報》, 3 (1984).
He, Yangming 何養明. “Huaju yishu xingshide kegui tansuo—wu changci huaju Juedui xinhao guangan” 〈話劇藝術形式的可貴探索—無場次話劇《絕對信號》觀感〉 (A Valuable Exploration on Artistic Form—Absolute Signal, A Play Without Act Divisions ).《老人天地》, 4 (1985).
Hu, Yaoheng 胡耀恒. “Yi yanyuan wei zhuzhoude xiju—lun Gao Xingjian de xiju yishu” 〈以演員為主軸的戲劇—論高行健的戲劇藝術〉 (Actor-Centred Theatre—On Gao Xingjian’s Dramaturgy).《中央日報》(Taipei), 23 Dec. 1995.
Hu, Yaoheng 胡耀恒. Bainian gengyunde fengshou《百年耕耘的豐收》(Plenitude of a Hundred Years of Cultivation). Taipei: 帝教出版社, 1995.
Huang Mei-hsü 黃美序.”Gao Xingjian xijuzhong de fodao renwu” 〈高行健戲劇中的佛道人物〉 (Buddhist and Taoist Characters in Gao Xingjian’s Plays). Unpublished paper, delivered at “The Second Chinese Drama Festival, Hong Kong, 1998” held at The Chinese University of Hong Kong, November 1998.
“Huiyu buyide huaju Yeren” 〈毀譽不一的話劇《野人》〉 (Wilderness Man, A Play of Divided Opinions).《作品與爭鳴》, 11 (1985).
“Juedui xinhao zuotan jiyao” 〈《絕對信號》座談紀要〉 (The Forum on Absolute Signal).《文藝評論報》, 15 Aug. 1983.
Ma, Jian 馬健. “Cong xianshi dao moxuyou de bi’an—ping Gao Xingjian de xiju Bi’an” 〈從現實到莫須有的彼岸—評高行健的戲劇《彼岸》〉 (From Reality to the Other Shore of Nonexistence—On Gao Xingjian’s The Other Shore).《明報》(Hong Kong), 18 Apr. 1995.
Ma, Wenqi 痳文琦. “Shuiyue jinghua” 〈水月鏡花〉 (The Moon in the Water and the Flowers in the Mirror). In Houxiandai zhuyi yu dangdai xiju《後現代主義與當代戲劇》. Beijing: 中國社會出版社, 1994.
Li, Shuoru 李碩儒. “Xuezhehua yu duchuangxing” 〈學者化與獨創性〉 (Being Scholarly and Being Unique).《光明日報》, 16 June 1985.
Lin, Kehuan 林克歡. “Doupo” 〈陡坡〉 (Steep Slope).《戲劇報》, 7 (1985).
Lin, Kehuan 林克歡. “Kenhuang dao bi‘an” 〈墾荒到彼岸〉 (From Pioneering to the Other Shore). In Lin Kehuan, ed. Lin zhaohua daoyan yishu《林兆華導演藝術》. Harbin: 北方文藝出版社, 1992.
Lin, Yinyu 林蔭宇. “Dui Yeren daoyan yishude shizheng fenxi” 〈對《野人》導演藝術的實證分析〉 (A Positivist Analysis of the Art of Directing in Wilderness Man). In Lin Kehuan, ed. Lin zhaohua daoyan yishu《林兆華導演藝術》. Harbin: 北方文藝出版社, 1992.
Liu, Zaifu 劉再復. “Shanhaijingchuan xu” 〈《山海經傳》序〉 (Preface to The Story of the Classic of Seas and Mountains). In Gao Xingjian 高行健. Shanhaijinchuan《山海經傳》. Hong Kong: 香港天地圖書有限公司, 1993.
Qu, Liuyi 曲六乙. “Xishou, ronghua, duchuangxing” 〈吸收、溶化、獨創性〉 (Absorption, Assimilation, and Uniqueness ).《戲劇報》, 12 (1982).
Qu, Liuyi 曲六乙. “Ping huaju Chezhan ji qi piping” 〈評話劇《車站》及其批評〉 (Bus Station and Its Criticism).《文藝報》, 7 (1984).
Run, Sheng 潤生. “Guanyu huaju Juedui xinhao de taolun zongshu” 〈關於話劇《絕對信號》的討論綜述〉 (A Summary of the Discussions on Absolute Signal
).《作品與爭鳴》, 3 (1983).
Shan, Jia 姍佳. “Guanyu huaju Chezhan de taolun zongshu” 〈關於話劇《車站》的討論綜述〉 (Summing Up the Discussions on Bus Station).《北京劇作: 徵文專號》(1984).
“Shehui zhuyi xiju bixu zhongshi shehui xiaoguo” 〈社會主義戲劇必須重視社會效果〉 (Socialist Drama Must Emphasize Social Effects).《北京劇作: 徵文專號》(1984).
Song, Luman 宋魯曼. “Yibu you mingxian quexiande zuopin—ping huaju Chezhan” 〈一部有明顯缺陷的作品—評話劇《車站》〉 (An Obviously Flawed Play—On Bus Station).《北京劇作》, 2 (1984).
Tang, Sifu 唐斯復. “Yige yinren zhumude xinhao” 〈一個引人注目的信號〉 (An Eye-catching Signal).《文匯報》, 21 Nov. 1982.
Tang, Sifu 唐斯復. “Huiyu canbande huaju Yeren” 〈毀譽參半的話劇《野人》〉 (Wilderness Man, A Play of Divided Opinions).《中國青年報，星期日刊》, 19 May 1985.
Tang, Yin, Du Gao, and Zheng Bonong 唐因、杜高、鄭伯農. “Chezhan Sanren Tan” 〈《車站》三人談〉 (A Three-Man Discussion on Bus Station).《戲劇報》, 3 (1984).
“Tuozhan xiju siwei” 〈拓展戲劇思維〉 (Expanding the Modes of Thinking in Drama).《戲劇電影報》, 26 May 1985.
Wang, Xiaocong, Tao Xianlu, Pan Xinxin, and Xia Fan 王小琮、陶先露、潘欣欣、夏幡. “Xingfen zhihou de sikao” 〈興奮之後的思考〉 (Thoughts After Excitement).《戲劇報》, 7 (1985).
Wang, Yusheng 王育生. “Kanguo Yeren huo de jidian zhiyi” 〈看過《野人》後的幾點質疑〉 (A Few Questions After Seeing Wilderness Man).《文藝報》, 13 July 1985.
Wen, Tao 聞濤. “Zhanxinde xiju xingshi—huaju Yeren guanhou” 〈嶄新的戲劇形式—話劇《野人》觀後〉 (A Totally New Dramatic Form—After Seeing Wilderness Man).《工人日報》, 12 May 1985.
Wen, Yuhong 溫裕紅. “Wo kan Gao Xingjian de xiju lilun” 〈我看高行健的戲劇理論〉 (My Opinions on Gao Xingjian’s Theory of Drama). Dramatic Arts《戲劇藝術》(Hong Kong: 香港演藝學院), 10 (1996).
Wu, Geng 武耕. “Gudude xunmei xinling—ping Gao Xingjian de Bi’an” 〈孤獨的尋美心靈—評高行健的《彼岸》〉 (The Lonely Heart In Search of Beauty—On Gao Xingjian’s The Other Shore).《信報》(Hong Kong), 12 April 1995.
Wu, Jicheng, Xu Nianfu, and Yao Mingde 吳繼成、徐念福、姚明德. “Yeren wu wen” 〈《野人》五問〉 (Five Questions Concerning Wilderness Man).《戲劇報》, 7 (1985).
Xi, Yan 溪煙. “Pingjia zuopinde yiju shi shenme—Qu Liuyi Tongzhi wenzhang duhou” 〈評價作品的依據是甚麼—曲六乙同志文章讀後〉 (What are the Bases For Evaluating a Literary Work—After Reading Comrade Qu Liuyi’s Article).《文藝報》, 8 (1984).
Xie, Nie 謝聶. “Jiedu Bi’an de dianfuxing yinyu” 〈解讀《彼岸》的顛覆性隱喻〉 (Reading the Subversive Metaphors in The Other Shore).《星島日報》(Hong Kong), 21 April 1995.
Xing, Tiehua 邢鐵華. “Gao Xingjian paochude you yike ‘caiqiu’” 〈高行健拋出的又一顆「彩球」〉 (Gao Xingjian Tosses Out Another Multi-Coloured Ball).《戲劇界》, 5 (1985).
Xing Zhi 行之. “Zhengfu guanzhong” 〈征服觀眾〉 (Conquering the Audience).《戲劇報》, 12 (1982).
Xu, Guorong 許國榮, ed. Gao Xingjian xiju yanjiu《高行健戲劇研究》(Studies on Gao Xingjian’s Plays). Beijing: 中國戲劇出版社, 1985.
“Yeren—Tan Beijing renyi xinxide tupo” 〈《野人》—談北京人藝新戲的突破〉 (Wilderness Man—On the Breakthrough of the New Production by Beijing People’s Art Theatre).《香港文學》, 6 (1985).
“Yeren yiwu” 〈《野人》咿唔〉 (Wilderness Man and Mumbo-jumbo).《文藝報》, 13 July 1985.
Yin, Ning’an 尹寧安. “Yeren shi ge mi—huaju Yeren guanhou” 〈野人是個謎—話劇《野人》觀後〉 (The Wilderness Man is a Puzzle—After Seeing Wilderness Man).《中國青年報，星期日刊》, 19 May 1985.
Zhang, Fu 張玞. “Gao Xingjian yu Zhongguo dangdai xiju” 〈高行健與中國當代戲劇〉 (Gao Xngjian and Contemporary Chinese Drama). In Department of Chinese, University of Beijing, ed. Zhuiyuji《綴玉集》. Beijing:北京大學出版社, 1990.
Zhang, Renli 張仁里. “Huaju wutai shang de yici xin tansuo” 〈話劇舞台上的一次新探索〉 (A New Exploration on the Stage).《戲劇報》, 12 (1982).
Zeng, Zhennan 曾鎮南. “Shi Yeren” 〈釋《野人》〉 (Explaining Wilderness Man).《十月》, 6 (1985).
“Zhe yeshi lishi” 〈這也是歷史〉 (This Too is History).《讀書》, 7 (1983).
Zhong, Yibing 鍾藝兵. “Mantan Yeren” 〈漫談《野人》〉 (Random Talks on Wilderness Man).《戲劇報》, 7 (1985).
Zhou, Fanfu 周凡夫. “Sanchongxing guanzhong—kan Gao Xingjian de Bi’an” 〈三重性觀眾—看高行健的《彼岸》〉 (Tripartite Audience—Gao Xingjian’s The Other Shore).《聯合報》(Hong Kong), 23 April 1995.
Zi Yong 子庸. “Yizhong xiandai xijuguan” 〈一種現代戲劇觀〉 (A Modern Theory of Drama).《文藝研究》, 1 (1985).
Japanese
Seto Hiroshi 瀨戶宏. Chuugoku no Doujidaiengeki《中國の同時代演劇》(Contemporary Chinese Drama). Japan: 好文出版, 1995.
Seto Hiroshi 瀨戶宏. “Gao Xingjian Toubou Daikai” 〈高行健《逃亡》題解〉 (On Gao Xingjian’s Exile). In his Chuugoku Gendai Gikyokushuu《中國現代戲曲集》(Anthology of Modern Chinese Drama), Vol. 1. Japan: 晚成書房, 1994.
Western Languages
Alagic, Zoran. “Pa vandring med Gao Xingjian.” Vämlands Folkblad. Sweden: 4 Nov. 1992.
Almansi, Guido. “Al Limite Estremo, di Gao Xingjian.” Panorma. Roma: 2 June 1994.
Barmé, Geremie. “A Touch of the Absurd—Introducing Gao Xingjian and His Play The Bus Stop,” Renditions, Nos. 19–20 (Spring & Autumn 1983).
Basting, Monica. “Tradition und Avantgarde in Gao Xingjians Theaterstück ‘Die Wilden’.” Yeren. Bochum, Deutsche: Studienvert Brockmeyer, 1988.
Broder, F. J. “Geschwätzig verquastes Kopftheater.” Frankischer Tag. Deutsche: 28 Oct. 1992.
Broder, F. J. “Geschwätziges Kopftheater.” Nordbayerscher Kurier. Deutsche: 29 Oct. 1992.
Carraz, Daniele. “Gao Xingjian: Une recherche zen de l’absurde.” Le Méridional. Avignon: 18 July 1993.
Chen, Xiaomei. “A Wildman between Two Cultures: Some Paradigmatic Remarks on ‘Influence Studies’.” Comparative Literature Studies, Vol. 29, No. 4 (1992).
Clavel, André. “Lisez Gao Xingjian!” L’Express. 23 Nov. 1995.
Clavel, André. “Sur les cimes de l’âme.” Gazette de Lausanne. Suisse: 3 Feb. 1996.
Contrucci, Jean. “Le Robinson du fleuve Jaune.” Le Provençal. France: 24 Dec. 1995.
Decornoy, Jacques. “Sous la neige de la mémoire.” Le Monde diplômatique. Paris: 30 Nov. 1995.
Douin, Jean Luc. “Le Grand bond en arrière.” Téléama. Paris: 17 Jan. 1996.
Dutrait, Noël. “A Chen et Gao Xingjian, le retour du plaisir de conter.” Publication de l’Université de Provence. France: 1998.
Ehnmark, Katarina. “Mångbottnat symboldrama.” Upsala Nya Tidning. Sweden: 23 March 1992.
Florin, Magnus. “Jag vet att grodan är Gud.” Expressen. Sweden: 11 Dec. 1992.
Franzén, Lars-Olof. “Vacklande under jord.” Gagens Nyheter. Sweden: 21 March 1992.
Gao, Xingjian. “En kinesisk modernist, Lars Nygren.” Goteborgs-Posten. Sweden: 29 Feb. 1988.
Hansell, Sven. “Kvinna, ditt namn ar kroppslighet.” Expressen. Sweden: 21 March 1992.
Huss, Pia. “Ovanligt Kvinnoporträtt i tragikt samtidsdrama.” Svenska Dagbladet. Sweden: 21 March 1992.
Kofler, Gerhard. “Warten, Flucht, Reise—Gao Xingjian und sein Stück ‘Die Busstation’ in Wien.” Der Standard, Wien: 23 May 1990.
Kubin, Wolfgang. “Die Busstation.” Die Busstation. Bochum, Deutsche: Studienvert Brockmeyer, 1988.
Lee, Mabel. “Walking out
of Other People’s Prisons: Liu Zaifu and Gao Xingjian on Chinese Literature in the 1990s.” Asian and African Studies, No. 5. U.K.: 1996.
Lee, Mabel. “Personal Freedom in Twentieth-Century China: Reclaiming the Self in Yang Lian’s Yi and Gao Xingjian’s Lingshan.” In Mabel Lee and Michael Wilding, ed. History, Literature and Society: Essays in Honour of S.N. Mukherjee, Vol. 15. Sydney: Sydney Studies in Society and Culture, 1996.
Lee, Mabel. “Gao Xingjian’s Lingshan/Soul Mountain, Modernism and Chinese Writer.” Heat, No. 4. Sydney: 1997.
Lee, Mabel. “Gao Xingjian’s Dialogue with Two Dead Poets from Shaoxing: Xu Wei and Lu Xun.” Essays in Honour of Marian Galik, Schweizerische Asiengesellschaft Band, Vol. 30. 1998.
Leonardini, Jean-Pierre. “Une rencontre fructueuse Jean-Pierre Leonardini.” L’Humanité”. Paris: 21 July 1993.
Li, Jianyi. “Gao Xingjian’s ‘The Bus-Stop’: Chinese Traditional Theatre and Western Avant-garde.” Master’s thesis, University of Alberta, 1991.
Lodén, Torbjörn. “World Literature with Chinese Characteristic: On a Novel by Gao Xingjian.” The Stockholm Journal of East Asian Studies. Vol. 4. Stockholm University: 1993.
Ma Sen. “The Theatre of the Absurd in Mainland China: Gao Xingjian’s The Bus Stop.” Issues and Studies: A Journal of China Studies and International Affairs, Vol. 25, No. 8 (Aug. 1989).
Margerie, Diane de. “Fragments d’une Chine dévastée.” Le Figaro. Paris: 11 Jan. 1996.
Martinez, Josefo. “Voyage dans la Chine profonde.” La Marseillaise. Marseille: 26 Nov. 1995.
Meudal, Gérard. “La Longue marche du résident Gao.” Libération. Paris: 21 Dec. 1995.
Nilsén, Rolf. “Gao kokar av berättarkraft.” Norrbottenskuriren. Sweden: 2 Oct. 1992.
Nyberg, Daga. “Andlig odyssé i Kina.” Landstiningen. Sweden: 11 Aug. 1992.
“Pa väg till Andarnas Berg Stig Hansén.” I Dag/GT Kvällsposten. Sweden: 23 Sept. 1992.
Persson, Lasse. “Kinesen på Dramaten.” Expressen. Sweden: 5 March 1988.
Peyraube, Alain. “Voyage au bout du la Chine.” Le Monde. Paris: 16 Dec. 1995.
