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what otherwise would remain buried under the hassles of each day. The first, by Gilbert Fong Chee-Fun, from the Chinese University of Hong Kong, reflects on two hot topics among writers and artists. Originally presented at an International Symposium on “Gao Xingjian: a Writer For His Culture, a Writer Against His Culture”, the author goes beyond controversy to share his views on what is at stake when Chinese identity has to be lived in exile, as so many people experience nowadays. Less frequently the object of attention, the world of Chinese opera runs some risk of being exiled in its own country and people. The second contribution, by Fu Jin, from The National Academy of Chinese Theatre Arts in Beijing, explains why: in recent decades foreign influences have had their impact on the traditional legacies dear to Chinese opera, for which experienced masters are in great need.
The Editor |
