The Reactionary Theater of Kunqu Opera Body Movements
There are three branches of ideas for the “reactionary theater” of Kunqu Opera body movements research :
The first is colonial mimicry 1, which is inspired byHomi K. Bhabha’s theory. The definition of colonial mimicry is as follows:
“The colonized attempts to imitate the colonizer. This imitation is through a process of disavowal trying to reproduce another representation of a difference. Colonized reproduces part of the colonial model, but it is not quite similar (almost the same, not quite)
The second is to adopt the important proposition of Bakhtin’s “Marxist linguistic philosophy”- “ideological semiotics” 2:
“All ideological processes have meaning, and they represent and describe things other than the manifestation themselves. The process of ideologicalization is a symbol.”
The meaning of Kunqu Opera body movements is the process of the generation, exchange, and communication of the patrilineal social value system. This value system is just like the hegemonic culture constructed by “masculine rationality” to the body, and the heterogeneous (female, body) always become scapegoats to consolidate colonial power.
The third is based on Deleuze and Guadalí’s “field construction” in the anti — Oedipus 3discourse to describe the desired machine of capitalism and erotic culture, and the body geography formed by its pulse in the political view of the body.
1 Bhabha. Homi(1984). 0f Mimicry and Man: The Ambivalence of Colonial Discourse (pp. 128–129). October, Vol. 28, Discipleship: A Special Issue on Psychoanalysis (Spring, 1984), pp. 125–133. The MIT Press.
2 3 Deleuze, Gilles and Guattari. Felix(1977). Anti-Oedipus: Capitalism and Schizophrenia (p.94.p.169). Trans. Robert Hurley, Mark Seem and Helen Lane. New York: Viking. Bakhtin/Voloshinov(1986). Marxism and the Philosophy of Language(p. 9).Trans. L. Matejka and I.R. Titunik. Harvard University Press.
Originally published at http://poeticmindfulness.wordpress.com on September 17, 2020.