Abstract
Late Pao-kun Kuo in Singapore and contemporary Denny Yung in Hong Kong have made particular ontological and epistemological choices in their experimental theater in the context of the de-colonization and rise of China. We gather, between the two sites, a possible dichotomy in the representation of China: China as a collective subject to accommodate the changing world and China as an individualized object that emerges in each narrator’s chosen perspective. Kuo intends to prompt the audience to reconnect with something greater than their individuality. For Kuo, the crisis is the loss of cultural subjectivity and the privileging of transcendence over individualized meanings of life. For Yung, cultural subjectivity is no longer a question after the return of Hong Kong to China. Yung painstakingly generates the legitimacy and capacity of individual Hong Kong people to have faith in their own ways of transcending any version of the entirety of China.
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