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Erika Fischer‐Lichte (2001)
Quo Vadis? Theatre Studies at the CrossroadsModern Drama, 44
W. Auden (1948)
The Age of Anxiety
H. Pinter (1998)
Various voices : prose, poetry, politics, 1948-1998
J. Hines (1996)
Program notesIEEE Spectrum, 33
Philip Auslander (1999)
Liveness: Performance in a Mediatized Culture
(1999)
The Age of Anxiety (New York: Faber, 1947). Quotation from page 44. Philip Auslander, Liveness: Performance in a Mediatized
(1999)
Everywhere and Nowhere: Theater in Cyberspace
(2000)
From Classic to Modern: A Director’s Note to Hamlet/Hamlet,
(1948)
Writing for the Theater
(1951)
Quotation from page vii
Konstantin Stanislavski (1949)
Building a Character
Technology and Theater in Post-1997 Hong Kong 87 Technology and Theater in Post-1997 Hong Kong: Current Trends in the Portrayal of Science in Art Thomas Y. T. Luk HE population of Hong Kong grew tenfold after the establishment of the People’s Republic in 1949. This Tincrease was mainly the result of people fleeing the mainland—people who did not at first identify themselves as residents of Hong Kong. By the late 1960s, however, many people did begin to see Hong Kong as their home—only to have that threatened when Britain reverted control of Hong Kong back to China in 1997. Many of those who left as 1997 approached returned after the smooth transition and, along with those who stayed, expressed a desire for more democracy from the local and central governments of Hong Kong and China, respectively. Despite recent setbacks such as the SARS epidemic and the central government’s exertion of more and more political control, Hong Kong’s citizens have attempted to preserve a sense of local identity and distinction from mainland China. The development of a unique Hong Kong theater has been one such attempt. Specifically, the development of intermediality—the integration of technology and art—has given rise to a
Journal of Urban Technology – Taylor & Francis
Published: Aug 1, 2005
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