中国舞台上的塞缪尔·贝克特：跨文化戏剧演出研究（1964-2011）

Textual Notes
Abbreviations
Prologue
Chapter One Introduction
1．1 Literature Review of International Beckett Criticism
1．2 Literature Review of Chinese Beckett Criticism
Chapter Two Theorizing Chinese Beckett Performance
2．1 Boundary Crossing： Beckett as Cultural Translation
2．2 Other Becketts in Intercultural Theater
2．3 Acting Beckett from the Marginal
Chapter Three Political Beckett： First Trials
3．1 Icebreaker： Gao Xingjian and Chezhan
3．2 Meng Jinghui： Angry Young Men Waiting for Godot
3．3 The Premature Godot： Premiere of Theater Quarterly
Chapter Four Beckett as Postmodern Laboratory
4．1 The Waiting of Three Sisters： A Chan Collage
4．2 Mo lei tau Beckett： What if Godot Comes?
4．3 Moveable Feast： Beckett in Ancient Chinese Gardens
Chapter Five Gendered Beckett in Consumerism Culture
5．1 Only Bored Women Waiting for Godot?
5．2 Hard Man and Woman Godot
5．3 Minnan Endgame： Gendered Consumption
Chapter Six Co-produced Beckett： Negotiating Authority
6．1 Beckett Workshop as Empowering Site
6．2 Western Experience： Enlightenment or Domination in
Disguise
Chapter Seven Can the Indigenous Act Back?
7．1 Performing Beckett， Reforming Jingiu
7．2 Beckett Danced on Chinese Stage
7．3 Dialogue with the Masters
Conclusion
Works Cited