Ibsen, Power and the Self: Postsocialist Chinese Experimentations in Stage Performance and Film (2019) is a timely, well-researched, and lucid book. It is a sequel to the author's other book Chinese Ibsenism: Reinventions of Women, Class and Nation (2019). Ibsen, Power and the Self deals with a significant change in the reception of Ibsen since China's opening up in the late 1970s. As the author Kwok-kan Tam says, “New stagings of Ibsen since the 1980s have featured Chinese theatre artists' experiments with different notions of the self, which is central to the tenets of Ibsenism. The Chinese stage must be completely reconceptualized so that Ibsen's female characters and their struggles can be presented within the frameworks of gender, class, state and ethical categories” (160). The major stage productions of Ibsen's works in China, such as Peer Gynt, The Lady from the Sea, Ghosts, Hedda Gabler, The...

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