Here at the Mellon School we are unanimously abandoning our field specializations to focus on Chinese theater after Clare Conceison’s contagiously enthusiastic manifesto for the subject.
Last evening Clare introduced us to the canon of contemporary theater in China and spoke of challenges in the field. As it turns out, government control of theatrical producfion is not a major problem — key playwrights who write subversive works (such as Clare’s favorite, Meng Jinghui) manage not to displease officials. In general, China seems eager to share its contemporary culture with the...
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