Abstract
This article delineates the different operational models that have been in use in Shanghai’s “avant-garde” theater in the twenty-first century. Where ZhenHan Café struggled to reconcile market demands with artistic vision, Downstream Garage mobilized market resources. Grass Stage has used avant-garde techniques in order to stage contemporary social realities, while Niao Collective has focused on “liminal” theater and student groups to generate a wide variety of smaller theatrical initiatives. Taken as a whole, these different operational models generate a unique model of Shanghai avant-garde theater, comprised of artists and companies constantly challenging traditional theatrical boundaries in their search for innovative techniques to approach the audiences and issues of contemporary society.
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