Abstract
Despite the stylish blend of multimedia and live performance in Robert Lepage's The Blue Dragon, touring in 2010 and 2011, critics are surprised by the reappearance of the archetypal love story in the space of contemporary intermedial performance. This article argues that the performance, set in contemporary Shanghai, explores the lived experience of transience and mobility through a narrative in which individual lives are implicated in a transnational, transcultural and transgenerational romance. Drawing on Zygmunt Bauman's work on liquid modernity and liquid love, we argue that the performance grapples with the experience of being unbound and disconnected in a liquid world.
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