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Overacting: Mass Performance during ...

Wang, Tuo.

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Overacting: Mass Performance during the Chinese Cultural Revolution (1966--1976).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Overacting: Mass Performance during the Chinese Cultural Revolution (1966--1976)./
Author:	Wang, Tuo.
Description:	317 p.
Notes:	Source: Dissertation Abstracts International, Volume: 74-12(E), Section: A.
Contained By:	Dissertation Abstracts International74-12A(E).
Subject:	Theater. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3591364
ISBN:	9781303319341

Overacting: Mass Performance during the Chinese Cultural Revolution (1966--1976).
Wang, Tuo.

Overacting: Mass Performance during the Chinese Cultural Revolution (1966--1976). - 317 p.

Source: Dissertation Abstracts International, Volume: 74-12(E), Section: A.

Thesis (Ph.D.)--New York University, 2013.

This item is not available from ProQuest Dissertations & Theses.

The Great Proletarian Cultural Revolution, which took place in China between 1966 and 1976, was a major political and social tragedy in Chinese history. As part of an effort to understand this catastrophic political event and the dynamics of the relation between power and the individual during the Cultural Revolution, this dissertation looks at the ubiquitous revolutionary presentations and performances of power, such as political rituals, revolutionary rhetoric, and public gatherings, in people's everyday life during the Cultural Revolution as performances that contributed to the control of the Chinese people. In particular, I discuss how the promotion of Model Theater and revolutionary models in real life contributed to people's eagerness to perform the role of the ideal revolutionary, and how the possibility of complete revolutionary transformation, promoted by the state media, and the hard fact that no one is able to completely become a Maoist subject, who is completely selfless and thinks and speaks only Maoist teaching, subjected people to a permanent liminality, a state of becoming but never fully having become, largely without their realizing it. Under the political pressures of the time, this inability to actually be the ideal revolutionary, was, I believe, what drove people to overact their revolutionary identity during the Cultural Revolution. This need to overact led to excessive violence, such as that which took place in public struggle meetings, and in other ways in people's everyday lives. In addition, I look at the audience's reaction to Jiang Qing's court performance in the trial of the Gang of Four and "Lin Biao Clique," which took place in 1980 as a way of bringing closure to the Cultural Revolution, interpreting the performative activity of this audience as an anarchic reinterpretation of the revolutionary identity performance during Cultural Revolution.

ISBN: 9781303319341Subjects--Topical Terms:

522973
Theater.

Overacting: Mass Performance during the Chinese Cultural Revolution (1966--1976).
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520 $a The Great Proletarian Cultural Revolution, which took place in China between 1966 and 1976, was a major political and social tragedy in Chinese history. As part of an effort to understand this catastrophic political event and the dynamics of the relation between power and the individual during the Cultural Revolution, this dissertation looks at the ubiquitous revolutionary presentations and performances of power, such as political rituals, revolutionary rhetoric, and public gatherings, in people's everyday life during the Cultural Revolution as performances that contributed to the control of the Chinese people. In particular, I discuss how the promotion of Model Theater and revolutionary models in real life contributed to people's eagerness to perform the role of the ideal revolutionary, and how the possibility of complete revolutionary transformation, promoted by the state media, and the hard fact that no one is able to completely become a Maoist subject, who is completely selfless and thinks and speaks only Maoist teaching, subjected people to a permanent liminality, a state of becoming but never fully having become, largely without their realizing it. Under the political pressures of the time, this inability to actually be the ideal revolutionary, was, I believe, what drove people to overact their revolutionary identity during the Cultural Revolution. This need to overact led to excessive violence, such as that which took place in public struggle meetings, and in other ways in people's everyday lives. In addition, I look at the audience's reaction to Jiang Qing's court performance in the trial of the Gang of Four and "Lin Biao Clique," which took place in 1980 as a way of bringing closure to the Cultural Revolution, interpreting the performative activity of this audience as an anarchic reinterpretation of the revolutionary identity performance during Cultural Revolution.
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