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Post-Colonialism and Contemporary Hong Kong Theatre: Two Case Studies
Published online by Cambridge University Press: 15 January 2009
Abstract
The case of Hong Kong – acquired by the British under treaty, and restored to Chinese sovereignty in what some perceived as merely a shift from colonial to neo-colonial rule – always seemed a special case in the debate over post-colonialism. In NTQ53 (February 1998) Frank Bren looked primarily from an artistic and administrative viewpoint at the connections between film and theatre in the former colony: in the article which follows, Yun Tong Luk explores the social and cultural significance of two influential local productions, staged almost a decade apart – one, We're Hong Kong, shortly after the Sino-British Joint Declaration of 1984, the other; Tales of the Walled City, coinciding with the moment of Hong Kong's reversion to Chinese rule. He points out the uniqueness of post-colonial experience in the territory, and examines the ambivalent attitudes of the Hong Kong people before and after the change of sovereignty.
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- Copyright © Cambridge University Press 1998
References
Notes and References
1. Modern Drama, XXXIII, No. 1 (Spring 1995).
2. Ann Wilson (in ‘Introduction’, Modern Drama, op. cit.), cites Linda Hutcheon's concern that this fashion ‘represents another of the First World academy's covert colonizing strategies of domination over the cultural production of the third world’. See , Hutcheon's ‘Colonialism and Postcolonial Condition: Complexities Abounding’, in PMLA, CX, No. 1 (01 1995), p. 9Google Scholar.
3. Bren, Frank, ‘Connections and Crossovers: Cinema and Theatre in Hong Kong’, New Theatre Quarterly, XIV, No. 53 (02 1998), p. 63–85CrossRefGoogle Scholar.
4. Gilbert, Helen and Tompkins, Joanne, Post-Colonial Drama: Theory, Practice, Politics (London; New York: Routledge, 1996)CrossRefGoogle Scholar.
5. Ashcroft, Bill et al. , The Empire Writes Back: Theory and Practice in Postcolonial Literatures (London; New York, 1989), p. 2CrossRefGoogle Scholar.
6. These two productions were by no means unprecedented. Other productions by local theatrical companies had antedated them, for example, Zuni Icosahedron's The Opium Wars: Four Letters to Deng Xiao Ping (1984) and Hong Kong Repertory's 1841 (1985).
7. ‘Zelda Cawthorne Reports on a Hong Kong Play’, South China Morning Post, 6 July 1985.
8. Yang, Daniel S. P., ‘On the Re-run of Tales of the Walled City’, Tales of the Walled City, Urban Council Presentations, No. 1 (1996)Google Scholar.