The absolute stage: Hongkong's revolutionary opera

Rozanna Lilley

The absolute stage: Hongkong's revolutionary opera

Rozanna Lilley

Department of Anthropology

Research output: Contribution to journal › Article › peer-review

Abstract

An analysis of a production by Hong Kong avant-garde performance group, Zuni Icosahedron, which questioned established genres of both Chinese and Western performance, including Revolutionary Operas.

Original language	English
Pages (from-to)	72-87
Number of pages	16
Journal	Social Analysis
Volume	38
Publication status	Published - Sep 1995

Access to Document

http://www.jstor.org/stable/23171710

Cite this

@article{57859832b7684b30b51ac987afef25fc,

title = "The absolute stage: Hongkong's revolutionary opera",

abstract = "An analysis of a production by Hong Kong avant-garde performance group, Zuni Icosahedron, which questioned established genres of both Chinese and Western performance, including Revolutionary Operas.",

author = "Rozanna Lilley",

year = "1995",

month = sep,

language = "English",

volume = "38",

pages = "72--87",

journal = "Social Analysis",

issn = "0155-977X",

publisher = "Berghahn Journals",

}

TY - JOUR

T1 - The absolute stage

T2 - Hongkong's revolutionary opera

AU - Lilley, Rozanna

PY - 1995/9

Y1 - 1995/9

N2 - An analysis of a production by Hong Kong avant-garde performance group, Zuni Icosahedron, which questioned established genres of both Chinese and Western performance, including Revolutionary Operas.

AB - An analysis of a production by Hong Kong avant-garde performance group, Zuni Icosahedron, which questioned established genres of both Chinese and Western performance, including Revolutionary Operas.

M3 - Article

VL - 38

SP - 72

EP - 87

JO - Social Analysis

JF - Social Analysis

SN - 0155-977X

ER -

The absolute stage: Hongkong's revolutionary opera

Abstract

Access to Document

Fingerprint

Cite this