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In Dionysus on the Other Shore, Letizia Fusini argues that throughout his early exile years (late 1980s-1990s), Gao Xingjian gradually moved away from Absurdist Drama to develop a dramaturgical system with tragic characteristics. Drawing on a range of contemporary theories of tragedy, this book reconfigures some of the key tropes of Gao’s post-1987 theater as varied articulations of the Dionysian sparagmos mechanism. They are the dismemberment of the dramatic self, the usage of constricted spaces, the divisive nature of gender relations, and the agony of verbal language. Through a text-based analysis of seven plays, the author ultimately aims to show that in Gao’s theater, tragedy is an ongoing and mostly subtextual dynamism generated by an interplay of psychic forces concurrently cohesive and divisive.

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Letizia Fusini, Ph.D. (2016), SOAS, University of London, is Postdoctoral Research Associate at SOAS and has taught at Goldsmiths and University of Essex. She has published essays on Chinese theatre and Comparative Literature in CLCWeb, Neohelicon, Modern Drama, Journal of Dramatic Theory and Criticism, Asian Theatre Journal and edited collections including the Routledge Handbook of Modern Chinese Literature (2018).

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