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Gao Xingjian

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Gao Xingjian was born on 4 January 1940 in Ganzhou (province Jiangxi) in east China and is now French citizens. He is storyteller, translator, dramatist, director, critic and artist. Gao Xingjian buildup during the Nachwehen of the Japanese invasion. Its father was bank employee, his nut/mother amateur actress. It woke promptly Gaos interest in the theatre and the Schriftstellerei. It received and put its basic training in the schools of the People's Republic 1962 down at Institut for foreign languages into Beijing an academic exam into French. During the culture revolution (1966-1976) it was sent for re-education into a camp and saw themselves forced to burn a bag of full manuscripts. Only 1979 it could publish and abroad, to Italy and France, travel. During the years 1980-1987 it published novellas, essays and dramas and beyond that four books in China in literary magazines: Prime Minister essai sur les techniques you novel modern I/O Preliminary Discussion OF the kind OF decaying Fiction (1981), which an argument by force around the "modernism" caused, the narration A Pigeon Called talk Beak (1985), Collected Plays (1985) and in search OF A decaying form OF drama TIC Representation (1987). Several of its experimental and again-creative plays - partly of Brect, Artaud and Beckett lively - were specified in the people art theatre in Beijing: Its Debut with the drama signal d'alarme/Alarm signal/alert (1982) became a stormy success; its break-through obtained it with the absurd piece of Arrêt de bus/bus Stop/Die bus station (1983), which was condemned during the campaign against "mental pollution" and called of a Parteikoryphaee the most harmful, which had been written since establishment of the People's Republic; also L'homme sow-vague/wildly Man/Der savage man (1985) caused a heated native debate and caused internationally attention.

1986 were forbidden the drama L'autre rive/The OTHER Shore/Das other banks, and since that time specified none of its dramas to more in China. In order to escape annoyances and chicaneries, it undertook a ten months long migration by the forest and mountain regions of the province itself SCN and followed the Yangzi river from its source to the coast. 1987 it left China and established themselves one year later than political refugee in Paris. 1989 he withdrew after the massacre at the place of the Himmlichen of peace from the communist party of China. After La had appeared fuite/Fugitives/Die escape /, which plays before the background of these events, he was explained from the regime to persona non grata, and its writings were forbidden. Already in the summer 1982 it had begun its large novel La Montagne de l'Âme/Soul Mountain/Der mountain of the soul, in which it produces the search of humans for its roots, for internal peace and after internal liberty by means of an odyssey by time and space on the Chinese country. A counterpart in addition forms the rather auto+biographic book Le livre d'un homme seul/Die Bible of lonely humans . Some its works into a row by languages were translated, and a part of its pieces today all around in the world are played. Into Sweden it was translated and introduced by Goeran Malmqvist, and some its pieces ( a summer rain in Peking, the escape ) by the royally dramatic theatre in Stockholm were specified.

Gao Xingjian, which painters in india ink, has more than thirty international exhibitions accomplished and its book envelopes illustrates. It received the following honors: Chevalier de l'Ordre kind et the Lettres (1992), Prix Communauté française de Belgique 1994 (for the book Le somnambule ); Prix you Nouvel on chinois 1997 (for the book La Montagne de l'Âme ).


  • Works of Gao Xingjian on German
    • The bus station: a lyric comedy from the VR China /over of Chang and Wolfgang Kubin Hsien chen. - Bochum: Brockmeyer, 1988.
    • Escape: a modern tragedy /over of Helmut Forster Forster-Latsch and Marie Marie-Luise Latsch. - Bochum: Brockmeyer, 1992. - [ appendix: Escape and literature of Gao Xingjian ]
    • At the border between lives and death /over of Marks of Renné// booklet for East Asian literature. NR 13 November 1992.
    • Basting, Monica, Yeren: Tradition and avant-garde in Gao Xingjians play "the wild ones" (1985). - Bochum: Brockmeyer, 1988. - [ Includes the text in the original Chinese and in German ]
    • Hard man, Sascha, and/or NO (1992): a drama of Gao Xingjian . - Bochum: Project publishing house, 1999.
  • Literature
    • Trees on the Mountain: at Anthology OF new Chinese Writing /OD. by Stephen C Soong and John min Ford. - Hong Kong: The Chinese U.P., copilot 1984.
    • Gao Xingjian, le moderniste // La Chine aujourd'hui NO 41, septembre 1986.
    • Basting, Monica, Yeren: Tradition and avant-garde in Gao Xingjians play "the wild ones" . - Bochum: Brockmeyer, 1988.
    • Lodén, Torbjoern, World Literature with Chinese Characteristics: On A Novel by Gao Xingjian // Stockholm journal OF East Asian Studies 4, 1993.
    • Lee, Gregory B., Chinese Writing and of exiles . - center OF East Asian Studies RK the Universtity OF Chicago, 1993.
    • Gao Xingjian, The Voice OF the individual // Stockholm journal OF East Asian Studies 6, 1995.
    • Lee, Mabel, Without Politics: Gao Xingjian on Literary Creation // Stockholm journal OF East Asian Studies 6, 1995.
    • Lee, Mabel, Pronouns as Protagonists: Gao Xingjian's Lingshan as Autobiography // Colloquium OF the Sydney Society OF Literature and Aesthetics RK the Univ. OF Sydney. Draft PAPER the 3-4 Oct. 1996.
    • Lee, Mabel, personnel Freedom in Twentieth Century China: Reclaiming the Self in Yang Lian's Yi and Gao Xingjian's Lingshan // History, Literature and Society. - Sydney: Sydney Studies in Society and Culture 15, 1996.
    • Outer one plus près you réel: dialogues sur l'écriture 1994-1997, entretiens avec Denis Bourgeois /trad. par Noeel et Liliane Dutrait. - La route of d'Aigues: l'Aube, 1997.
    • Lee, Mabel, Gao Xingjian's Lingshan/Soul Mountain: Modernism and the Chinese Writer // Heat 4, 1997.
    • Calvet, Robert, Gao Xingjian, le peintre de l'âme // Brèves NO 56, more hiver 1999.
    • Zhao, Henry Y.H., Towards A decaying Zen Theatre: Gao Xingian and Chinese Theatre Experimentalism . - London: School OF Oriental and African Studies, 2000.
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