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• W1978787041 abstract "With unprecedented economic development that brought a more than tenfold increase in gross domestic product since the Cultural Revolution, China has been participating in a global capitalist community that has helped pave the way for its transformation from modernity to postmodernity, economically, culturally, and intellectually. (1) As one of the leading directors in contemporary Chinese theatre, Meng Jinghui (b. 1966) reflects the development of theatre in this time of rapid economic growth, and his work marks the transition toward a more popular and urbanized theatre in China. Meng belongs to a younger generation of directors who, embarking upon their stage careers during the early 1990s, take an active role in shaping the present landscape of Chinese theatre. This group is much less influenced by the staggering Cultural Revolution than those born even a decade earlier. The personal experience of this generation is very much a barometer of the rapid cultural and economic flourishing that began with the country's opening to the outside world in 1978 and accelerated after the economic reforms of Deng Xiaoping in 1992. Meng's Lian'ai de xiniu (Rhinoceros in Love, 1999), which premiered near the turn of the century, provides a poignant reflection on the emergence of the capitalist cultural condition in contemporary China. Meng Jinghui launched his directorial career with his graduation production of Dengdai geduo at the Central Academy of Drama in 1991, an ambitious adaptation of Samuel Beckett's Waiting for Godot. Since then Meng has been credited with producing more than ten celebrated plays, including Sifan (Thinking of Worldly Pleasures, 1992), Wo ai XXX (I Love XXX, 1994), Yige wu zhengfu zhuyi zhe de yiwai siwang (The Accidental Death of an Anarchist, 1998), Rhinoceros in Love (1999), and Daoban Fushide (Bootleg Faust, 1999). Meng has brought to the audience an array of works drawing inspiration from traditional Chinese tales as well as Western works of Dario Fo and Goethe. (2) Meng also entered the film industry through the 2002 Xiang jimao yiyang fei (Chicken Poet), which shows a great affinity to his theatrical pieces with black humor, pungent metaphors, and stark criticism of reality. Meng's Hupo (Amber) in 2004 is another attempt to bring multiple dimensions to his theatrical world by producing a multimedia musical to portray the complexity of love. His most recent production, Yanyu (An Exotic Encounter), which premiered in April 2007 in Beijing, takes the theme of urban love centering on the encounter with a beautiful woman. Amber, An Exotic Encounter, Chicken Poets, and Rhinoceros in Love were all written by his wife, Liao Yimei, who was his classmate at the Central Academy of Drama. Liao's works have significantly contributed to what is generally regarded as Meng Jinghui's style of theatre. For instance, critic Liu Xiaocun suggests that Amber further establishes Meng's personal style, which extends from his first noteworthy work Rhinoceros in Love (2005: 101). Premiered in 1999, Rhinoceros in Love is regarded as not only the transitional point in Meng's career but also a benchmark for popular success in China. The support of young urban audiences in their twenties and thirties as well as college students is the key factor in the popularity of Rhinoceros in Love. In Hot Tickets: China's New Generation Takes the Stage, Claire Conceison points out the resurgence in theatergoing in China in the late 1990s with audiences who are increasingly younger, healthier, better educated, and more exposed to Western ideas. (Conceison 2002: 18) What appeals to this audience in Rhinoceros in Love is, first of all, the theme of love. The central character in Rhinoceros in Love, Ma Lu, is very much a young city dweller of present day China. The play depicts a love triangle and revolves around Ma Lu, a zookeeper, who is embroiled in an unsuccessful love relationship with a girl named Mingming. …" @default.
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• W1978787041 date "2009-01-01" @default.
• W1978787041 modified "2023-10-17" @default.
• W1978787041 title "Emotion, Materiality, and Subjectivity: Meng Jinghui's <i>Rhinoceros in Love</i>" @default.
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• W1978787041 doi "https://doi.org/10.1353/atj.0.0050" @default.
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