Since China’s opening up in 1978, new theatre styles and new concepts of femininity have entered China and have given theatre artists new frameworks for revisioning the self in psychoanalytic dimensions and in relation to power and subjection. Ibsen has become a site of experi­mentation with traditional Chinese theatre aesthetics and stage design, as well as a testing ground for political and cultural representations of the female body in dance and opera. A visionary figure, Ibsen signifies the experi­mental and the non-traditional in China today.

Other than critical analyses, the book contains rare materials from the author’s private collection, such as photographs and archival records of Ibsen performances on the Chinese stage, that are made available to the public for the first time.

Kwok-kan Tam is Chair Professor of English and Dean of Humanities and Social Science at the Hang Seng University of Hong Kong. He was Head (2012–18) and is currently member of the International Ibsen Committee, University of Oslo. He is Foundation Fellow of the Hong Kong Academy of the Humanities. He has published numerous books and articles on Ibsen, Gao Xingjian, modern drama, Chinese film, post­colonial literature, and world Englishes. His recent books include Chinese Ibsenism: Reinventions of Women, Class and Nation (2019), The Englishized Subject: Postcolonial Writings in Hong Kong, Singapore and Malaysia (2019) and a co-edited volume Fate and Prognostication in the Chinese Literary Imagination (2019).