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Professor Katherine Hui-ling Chou

 

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Electronic Theater Intermix in Taiwan

Education : Ph.D. Performance Studies, Tisch School of Arts, New York Univ. 1997 M.A. Performance Studies, Tisch School of Arts, New York Univ. 1989 B.A. English Dept., Fu Jen Univ. 1986

Research Areas : Cultural Policies on Arts, Gender Performance and Performativity, Performance Studies on Star Discourse, Performing Arts Digital Archive and Repository

Professional Appointments : Academic: Professor, English Dept. NCU, 2011~ Chair of English Dept., NCU, 2010~2013 Chair of Visual Culture Research Center, NCU, 2014~ Consultant for “Staging China,” the White Rose East Asian Center in UK, 2012~ Editorial Committee, Theatre Studies (THCI-core journal), 2008~ Editorial Committee, Arts Review (THCI), 2011~ Associate Professor, English Dept. NCU, 1998-2011 Director of Digital Archive of Taiwan Modern Theatre (ETI-TW.COM), 2003~ Coordinator of Research Center for Theatre and Performance Studies, NCU, 2003~ Associate Professor, General Education, National Yang Ming Univ., 1997-1998 Associate Professor, Theatre Dept. National Taipei Univ. of Arts,1997-1999 Theatre: Project Director of NCU Performance Center, 2011~ Playwright/director, Theatre Ensemble of Creative Society (CS), 2000~ Co-Founder, Creative Society Theatre Troupe, 1997~2006

Academic Honors and Awards : The “Sih-Yuan” Distinguished Doctoral Thesis for the Humanities and Social Sciences Award Advisor), 2014 Univ. Outstanding Research Award, NCU, 2005, 2009, 2010, 2012. Univ. Outstanding Teaching Award, NCU, 2009. Outstanding Research Award of College of Liberal Arts, NUC, 2007, 2008. Research Fellow, Research Center for Liberal Arts, NCU, 2005 Research Award, National Science Council, 1997, 1998, 1999. Outstanding Doctoral Dissertation, New York Univ., 1997.

Publications (partial) :

(A) Refereed Book:

  • Performing China: Actresses, Performance Culture, and Visual Politics, 1910-1945. (Taipei: Rye Field Publishing, 2004)
  • Performing Taiwan: Scripts, Designs and Technologies, 1943-. Editor in Chief. 19 volumes. (Taipei: Pomou E-publication, 2013-14). Sponsored by Ministry of Culture, ROC.

(B) Chapters in Refereed Book:

  • “Striking Their Own Poses: The History of Cross-Dressing on the Chinese Stage,” in Gender and Sexuality: A Batch from TDR, ed. by Richard Schechner (ISBN 978-0-262-75779-9). MIT Press Journals, 2014.
  • “In War They Write: Eileen Chang, Xiao Hong and Ann Hui,” Harvard Literary History of Modern China, ed. by David D.W. Wang. (MA, Cambridge: Harvard Univ. Press, forthcoming 2015)
  • “Modern Theatre in East Asia: Taiwan, Hong Kong & Korea,” Ed. Routledge Handbook of Asian Theatre, ed. by Liu Siyuan. (Canada: Routledge, forthcoming 2015)
  • “Staging a New Venture: Tian Qinxin and the Policy Change on the ‘Spoken Drama Industry’ in China,” Eds. By Li Ruru & Suan Daniels. Spoken Drama Productions in Millenium: Theatrical Encounter with Politics, Society and Culture (Working title). (London: Palgrave, forthcoming 2015).
  • “Acting and Beyond: the Queer Stardom and Body Enactment of ‘Leslie Cheung’,” in Gender and Chinese Cinema: New Interventions, eds., by Mary Ann Doane and Wang Lingzhen. (NY: Columbia Univ. Press, forthcoming 2015)
  • “Cultural Narratives, Tourist Behavior and Invented Tradition: A Comparative Study of the Cultural Performances in Bali and the Bunun Tribe,” Ed. by Su Shuobin. Traveler with Gaze: The Tourist Culture in Modern China and Taiwan. (Taipei: National Yang Ming Univ. Press 2012)
  • “Cultural Policies Reconsidered: A Comparative Study on ‘Creative Industry’ in China and Taiwan”, in After the Heteroglosia: 2006 Conference on Modern Theatre in Taiwan, eds. by Lin Heyi and Chi Weiran. (Taipei: National Univ. Press, 2008), pp. 1-35.
  • “Flapper and Femme Fatale and in Chinese Mirror: An Intercultural Studies of ‘Star Discourse’ in the 1930s Hollywood and Chinese Film Industries,” Voices amid Silence (III): Women and the Culture in Modern China (1600-1950), eds. By Lo Jiu-jung, Lu Miaw-fen (Institute of Modern History, Academia Sinica, 2003), pp. 243-300.

(C) Refereed Journal Papers:

  • “Art as Industry?-A Participant-observer’s Account of the Changing Course of Modern Theatre in Taiwan,” Theatre Studies (vol. 13, Jan. 2014), (National Taiwan Univ.), pp. 145-174.
  • “Reconsidering Role-creating and Beijing Opera’s Acting Convention: Ten-year Experimentations of Guoguang Jingju Troupe, 2000-2010,” in Newsletter of the Institute of Chinese Literature and Philosophy (vol. 21, no. 1, March 2011), (Academia Sinica), pp. 51-60.
  • “Performing Self, Enacting Memory: Ku Cheng-chiu’s Three Biographies, and Women’s Remedy for War,” in Research on Women in Modern Chinese History, (vol. 17, Dec. 2009), eds. by Huang Ko-wu and Yu Chien-ming (Institute of Modern History, Academia Sinica), pp. 1-30.
  • 14. “The Queer Stardom and Body Enactment of ‘Leslie Cheung’,” in Journal of Theatre Studies, (vol. 3, Jan. 2009), pp. 217~248.
  • “Cultural Narratives, Tourist Behavior and Invented Tradition: A Comparative Study of the Cultural Performances in Bali and the Bunun Tribe,” Taiwanese Journal of Sociology, (vol.28, Sep. 2002), pp. 77-151.
  • “Femme Fatale as Warrior: Film Actresses and Chinese Modernity, 1933-35,” in Research on Women in Modern Chinese History, (vol. 9, Aug. 2001), eds. by Lu Fang-shang and Yu Chien-ming (Institute of Modern History, Academia Sinica), pp. 5-62.
  • 17. “Gender Performances on Traditional Chinese Stage," in The Drama Review (vol. 41, no. 2, T154, 1996), (Cambridge: MIT Press Journal), pp 130-152.
  • “Actresses, Realism and ‘New Women’: Gender Performances on the late Qing and Early Modern Chinese Stage,” Research on Women in Modern Chinese History, (vol. 4, Aug. 1996), eds. by Lu Fang-shang and Yu Chien-ming (Institute of Modern History, Academia Sinica), pp. 87-133.

(D) Conference Presentations and Papers:

  • Creative Concepts of “He is My Wife, He is My Mother,” Invited Talk by College of Liberal Arts. Nanjing Univ., PRC, April 28-29, 2014.
  • “Prostitute the Patriot: Sai Jinhua by Xia Yan and the 1930s Leftist Spoken Drama,” Zhejiang Univ., PRC, April 18-23, 2014.
  • “He is My Wife, He is My Mother,” Invited Talk on Prop Q: Queer Performance and Politics, a public series curated by Prof. Sue-Ellen Case and Anurima Banerji of UCLA Graduate Program of Theatre Dept., organized by UCLA Center for Performance Studies and on Dance 101: Theories of Dance/Performace, a course of UCLA of Dept. of World Arts and Cultures/Dance (Anurima Banerji), USA, April 9-10, 2014.
  • “Boundary-Crossing, Artistic Creation and Gender Subversion in Contemporary Theatre in Taiwan,” Invited Talk at Adaptation in Taiwan Theater and the Chinese Cultural Tradition, A Workshop at Washington University in St. Louis, USA, April 5-6, 2014.
  • “Patriotic Prostitute: Xia Yen’s Sai Jinhua the Chinese Leftist Spoken Drama Movement,” The 9th Conference-Festival of Chinese Theatre, Zhejiang Univ., Hangzhou City, China, April 18-23, 2014.
  • “ETI-TW and Its Application” International Conference of Digital Future and Media Society, Zhejiang Univ., Hangzhou City, China, Nov. 10-11, 2013.
  • “On Tian Qinxin: An Era of Director or Producer?” International Symposium of Performing China on the Global Stage, University of Leeds. UK, March 26-7, 2013。
  • “Changing Cultural Policy in Taiwan and New Model of Theatre Imagined,” 2012 Modern British and American Drama Association of Korea Conference, Dongguk Univ. of Seoul, Republic of South Korea, Oct. 27, 201.
  • “Performing Arts and Culture Industry in Taiwan,” invited speech by Chinese Dept. of National Singapore Univ. March 14-17, 2012.
  • “Zwischen Kunst und Kommerz: zum Taiwanesischen Theater,“ Ruprecht-Karls-Universität Heidelberg and National Taiwan Univ., Nov. 18, 2011.
  • “Art as Industry?: a Participant-Observer’s Account of the Changing Concepts of Theatre in Taiwan,” International Symposium on Staging the Modern: Theatre, Intermediality, and Chinese Drama, sponsored by CCK Foundation, Harvard-Yenching Institute, and the Dept. of East Asian Languages and Civilizations, Harvard University, May 6-9, 2011.
  • “Art vs. Market?: The Cultural Significance of Theatre Arts in Taiwan and Great Britain,” 2009 International Conference on Visuality and Cultural Literacy, National Central Univ. Dec. 12-13, 2009.
  • “Performing Self, Enacting Memory: Ku Cheng-chiu’s Three Biographies, and Women’s Remedy for War,” Histopolitan: Women and War, Institute of Modern History, Academia Sinica, Dec. 10-12, 2008.
  • “Acting and Beyond: Star Process, Gender Politics and the Case of Leslie Cheung,” International Conference on Gender and Chinese Cinema, Nanjing University, China, June 25-27, 2008.
  • “Cultural Policies Reconsidered: A Comparative Study on ‘Creative Industry’ in China and Taiwan”, 2006 Conference on Modern Theatre in Taiwan, National Taiwan Univ., Oct. 7-10, 2006.
  • “Elite Talk and Policy Discourse: Rethinking the Cultural Adaptation of Taiwan’s Modern Theatre,” 2004 International Conference on Formation of Canon, the New Approaches to Taiwan Literature, Institute of Chinese Literature and Philosophy, Academia Sinica, July 15-19, 2004.
  • “Gender and Visuality of Chinese Modernity: A Performance Study on Chinese Women Photography, 1930s-1940s.” Conference on Visual Configuration of China Since 1600, Institute of Modern History, Academia Sinica, Sep. 5-6, 2001.
  • “Flapper and Femme Fatale and in Chinese Mirror: An Intercultural Studies of ‘Star Discourse’ in the 1930s Hollywood and Chinese Film Industries,” International Conference on Women and the Culture in Modern China, 1600-1950, Institute of Modern History, Aug. 23-25, 2001.
  • “Marketing Film, Performing Modernity, 1920s~1930s,” New Directions in Chinese Women’s History, sponsored by the Chiang Ching-kuo Foundation Center for Chinese Cultural and History, Columbia University. Feb. 16-17, 2001.
  • “Performing Scholarship, Tourisizing Identity: A Comparative Study of Cultural Policy and Nationalism in Indonesia and Taiwan,” 2000 Conference on Cultural Studies, National Chiao-Tung Univ., Dec. 16-17, 2000.
  • “Impersonating `New Woman:’ Feminist Actress, Socialist Warrior and the Wartime Performance Reform,” 2000 ATHE (The 14th Annual Conference of the Association for Theatre in Higher Education), Washington D.C., Aug. 2-5, 2000.
  • “Gender, Magic and the Yuan Acting,” 1999 ATHE (13th Annual Conference of the Association for Theatre in Higher Education), Toronto, Canada, July 28-31, 1999.
  • “Technology & Ideology of the Gender Performance in Modern Chinese Film: 1922-1934.” Third Annual Conference of Performance Studies by the National Association of Performance Studies. Atlanta, Georgia, USA.April, 10-12, 1997.
  • “Actresses and Realism in China, 1930s-1940s,” International Conference on Literature Theories and Popular Culture, Institute on Chinese Literature and Philosophy, Academia Sinica, May 25, 1996.

(E) Grants and Fellowships:

  • “Performing Arts in Taoyuan,” Awarded Funding by Ministry of Culture, Branch of Arts and Development, 2014.
  • “Performing Taiwan: E-Publications on Scripts, Designs, and Technologies, 1943~,” Awarded funding by Ministry of Culture, Branch of Creative Cultural Industry, 2013-14.
  • “A Comparative Study on Performance and Cultural Policy,” MOST (NSC) Research Grant, Aug. 2013-July 2015. (NSC102-2410-H-008-071-MY2)
  • “Theatre as Art Product and Creative Industry Policy: A Field Study on Taiwan Modern Theatre, 2000-2014 (I-II),” NSC Research Grant, Aug. 2012-July, 2013. (NSC101-2410-H-008-058)
  • “Performing Arts Cluster in Taoyuan,” Awarded Funding by Ministry of Culture, Branch of Creative Cultural Industry, Grant for Research and Development, 2012-2014.
  • “Theatre Performance and Performance Culture,” Ministry of Education, Teaching Grant for Practical Humanity, Aug. 2011-Jan. 2013.
  • “Digital Archive of Taiwan Modern Theater and Performance, 1995-2009,” National Science Council (NSC) Research Grant for National Digital Archive, Aug. 2010-July, 2012. (99-2631-H-008-005) ETI
  • “Marketing Taiwanese Modern Theater, an Ethnographic Approach,” NSC Research Grant, Aug. 2010-July, 2012. (99-2410-H-008-051-MY2)
  • “A Performance Study of the Stardom and Queer Performance in Hong Kong (1980s-1997) and Hollywood Cinema,” NSC Research Grant, Aug. 2009-July 2010. (98-2410-H-008-074)
  • “Theatre ’Art’ or ’Industry’?: A Comparative Study of the Creative Industries in the United Kingdom and China,” NSC Research Grant, Aug. 2007-July, 2009. (96-2422-H-008-001)
  • “Digital Archive of Electronic Modern Theater Intermix in Taiwan, 1986~2005,” NSC esearch Grant for National Digital Archive, July, 205-June, 2007. 2006. (95-2422-H-008-001)
  • “Body that Remembers: Body Narratives in the Amercan Performance Arts, 1960s~1970s,” NSC Research Grant, Aug. 2005-July, 2006. (NSC94-2411-H- 008- 009)
  • “Cultural Policy Studies: Discourse & Policy Making of the Performing Arts in the United States and Its Influnce on Taiwan, 1965-2000,” NSC Research Grant, Aug. 2004-July, 2005. (NSC93-2411-H-008-008)
  • “Body, Text, Performance: A Historiography of Taiwan's Modern Theater,” NSC Research Grant, Aug. 2002-July, 2004. (NSC-91-2411-H- 008-014)

(F) Artistic Credits:

  • PopFestival Anually, Artistic Director. National Central Univ., 2012-.
  • One Hundred Years on Stage, playwright (co-writing with Wang Anchi, Chao Hsue-chun), Guoguang Beijing Opera Troupe, (premiered in April 22-24, 2011), Taipei Municipal Hall. Funded by National Endowment for the Arts (NEA).
  • Have Wok, Will Travel (a collaboration of modern dance and theatre), playwright, director, Creative Society Theatre Ensemble (CS), (premiered in Dec. 20, 2010-Jan. 1, 2011), Experimental Theatre in Taipei National Theatre. Funded by NEA, Taipei Cultural Council.
  • Zhou Huiling Xiaoxi Dazuo (Three plays of Experimental Theatre by Katherine Hui-ling Chou), Taipei: Bookman (2011).
  • He is My Wife, He is My Mother, playwright, director, CS, (premiered, May 14-17, 2009; re-run, July 29-31), Taipei Municipal Hall. Funded by NEA, Taipei Cultural Council.
  • He is My Wife, He is My Mother (script and DVD). Taipei: Da Ke Press, 2009, 2010.
  • Dreams on Manuscript, playwright, National Theatre in Taipei. (Publication funded by NEA.) Taipei: Da Ke Press, 2009.
  • to be AND not to be, playwright/director, CS, (premiered, Nov. 15-18; 22-25, 2006, Experimental Theatre at Taipei National Theatre; Eslite Culture Center, Tainan); (international tour, March 21-24, 2007, One-Hundred Year of Spoken Drama in China Festival, Beijing City; Nov. 13-4, 2007, Asian Theatre Festival at Shanghai Spoken Drama Center); (Taiwan re-run, Oct. 25-6, 2008, Chiayi Cultural Centre; Nov. 19, NCTU, 2008). Funded NEA, Taipei Cultural Council.
  • Deja vu, director, CS, (premiered, Nov. 2003, Taipei Novel Hall Theatre; international tour in Beijing, Sep. 19-20, 2006; Taiwan re-run, Tainan, Taichung, TCHU, April 22, 29, May 6, 20). (Funded, NEA, Taipei Cultural Council.)
  • Reel Murder, director, CS, (premiered, May 6-12, 2005, Taipei Novel Hall Theatre). (Funded, NEA, Taipei Cultural Council)
  • Click, My Baby, playwright/director, CS, (premiered, April 30-May 2, 2004), Taipei Novel Hall Theatre. (Funded, NEA, Taipei Cultural Council. Script by Rye Field Pub., 2004)
  • Memory Album, playwright/director, CS, (premiered, May 9-12, 2002), Experimental Theatre of Taipei National Theatre. (Funded, NEA, Taipei Cultural Council)
  • I Want You, I Want You Not, playwright/director, CS, (premiered, Feb. 2000), Taipei Novel Hall Theatre. (Funded, NEA, Taipei Cultural Council. Script published by Daoxiang Pub., 2002)

(G) Doctoral Dissertation:

  • “Staging Revolution: Actresses, Realism & New Woman Movement in Chinese Spoke Drama & Film, 1919-1949,”doctoral dissertation for the Dept. of Performance Studies, Jan. 1997, New York Univ. USA. (1997 Outstanding Dissertation Award, NYU; 1997 Outstanding Research Award, NSC)