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By Gordon W. Gribble and Thomas L. Gilchrist (Eds.)

Includes nine keynote articles, and seventy four contributed articles and posters. additionally contains records of 2 web dialogue lists and a range of digital lectures in chemistry. summary: comprises nine keynote articles, and seventy four contributed articles and posters. additionally contains data of 2 net dialogue lists and a variety of digital lectures in chemistry

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The so-called art of “living the part” in Stanislavski System often merely concerns how to play that puppet. I have no interest in any concrete puppet. [ . . ] I believe the state of the actor should be puppeteer and puppet simultaneously so that the actor could oversee how the character acts. (Personal communication, October 28, 2002) Here we see that Lin encourages the actor to have a bird’s-eye view not only of his acting but also of the meaning behind the character’s action while creating.

Produced by Chinese Opera and Dance Theatre (Zhongguo Geju Wuju Yuan). 4. Possibly the only previous attempt at symbolic design was an abstract backdrop designed and painted by the US-educated artist and poet Wen Yiduo (1899–1946) for Cao Yu’s production in Kunming in 1939 (Tian 1988, p. 256). 5. This current trend of prioritizing the director’s vision over the play is evident in two productions of The Savage Land by Beijing People’s Art Theatre, China’s preeminent modern theatre company. One of them is a 2000 postmodern deconstruction directed by Li Liuyi that has gained notoriety for an onstage toilet that stored Coca Cola cans, seventeen television sets that showed the play’s movie version and other films, a refrigerator, and a king-size bed for Jinzi reminiscent of A Cat on a Hot Tin Roof, although Li insisted that he had kept the play’s major scenes, just with their order reassembled.

The mood shift infects the rest of the figures who turn around and look at him up and down in wonder, slowly starting to sing: “la, la, la,” and move their bodies and hands rhythmically. One of them makes a loud train whistle. The rest start mimicking train wheels with their arms and make the “chi-cha-ka-cha, chi-cha-ka-cha” sound. Then the fool Bai Shazi, who has been lying center stage in the dark, makes a whistle sound, which brings in train and siren sounds from the loudspeaker. As a bright white light comes up center stage, the figures retreat to the sides to reveal the crooked Chou Hu in ankle chains, limping onto the stage.

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