Gao Xingjian

"Xingjian" redirects here. For the Uygur Autonomous Region in China, seeXinjiang.

In thisChinese name,thefamily nameisGao.

Gao Xingjian(Chinese:Cao hành kiện;born January 4, 1940) is a Chineseémigréand later French naturalized novelist, playwright, critic, painter, photographer, film director, and translator who in 2000 was awarded theNobel Prize in Literature"for an oeuvre of universal validity, bitter insights and linguistic ingenuity."He is also a noted translator (particularly ofSamuel BeckettandEugène Ionesco), screenwriter, stage director, and a celebrated painter.

Gao Xingjian
Gao in 2012
Born	(1940-01-04)January 4, 1940 Ganzhou,Jiangxi, China
Occupation	Novelist playwright critic translator screenwriter director painter
Language	Chinese
Citizenship	Republic of China(1940–49) People's Republic of China(1949–98) France(since 1997)
Alma mater	Beijing Foreign Studies University
Genre	Meta-theatre, genre resistant
Notable works	Absolute Signal(1982) The Bus Stop(1983) Wild Man(1985) The Other Shore(1986) Soul Mountain(1990)
Notable awards	Nobel Prize in Literature (2000)
Spouse	Wang Xuejun ( vương học quân ); divorced
Chinese name
Chinese	Cao hành kiện
Transcriptions Standard Mandarin Hanyu Pinyin Gāo Xíngjiàn Wade–Giles Kao Hsing-chien IPA [kɑ́ʊɕǐŋtɕjɛ̂n]

Gao's drama is considered to be fundamentallyabsurdistin nature and avant-garde in his native China.Absolute Signal(1982) was a breakthrough in Chinese experimental theatre.The Bus Stop(1983) andThe Other Shore(1986) had their productions halted by the Chinese government, with the acclaimedWild Man(1985) the last work of his to be publicly performed in China. He left the country in 1987 and his plays fromThe Other Shoreonward increasingly centered on universal (rather than Chinese) concerns, but his 1989 playExileangered both the government for its depiction of China and the overseas democracy movement for its depiction of intellectuals. In 1997, he was granted French citizenship.

Gao's influences include classical Chinese opera, folk culture, and 20th century European drama such asAntonin Artaud,and he said in 1987 that as a writer he could be placed at the meeting point between Western and Eastern cultures. He is a very private person, however, and later claimed, "No matter whether it is in politics or literature, I do not believe in or belong to any party or school, and this includes nationalism and patriotism." His prose works tend to be less celebrated in China but are highly regarded elsewhere in Europe and the West, withSoul Mountainsingled out in the Nobel Prize announcement.

Early life

Born inGanzhou,Jiangxi,during wartime China in 1940 (Gao's original paternal ancestral home town is inTaizhou, Jiangsuwith his maternal roots fromZhejiang), his family returned toNanjingwith him following the aftermath ofWorld War II.He has been a French national since 1997.In 1992 he was awarded theChevalier de l'Ordre des Arts et des Lettresby the French government.

Early years in Jiangxi and Jiangsu

Gao's father was a clerk in theBank of China,and his mother was a member ofYMCA.His mother was once a playactress of Anti-Japanese Theatre during theSecond Sino-Japanese War.Under his mother's influence, Gao enjoyed painting, writing and theatre very much when he was a little boy. During his middle school years, he read much translated literature from the West, and he studiedsketching,ink and wash painting,oil paintingand clay sculpture under the guidance of painter Yun Zongying (simplified Chinese:Vận tông doanh;traditional Chinese:Vận tông doanh;pinyin:Yùn Zōngyíng).

In 1950, his family moved toNanjing.In 1952, Gao entered theNanjing Number 10 Middle School(later renamed Jinling High School) which was the Middle School attached toNanjing University.

Years in Beijing and Anhui

In 1957 Gao graduated, and, following his mother's advice, choseBeijing Foreign Studies University(BFSU) instead of theCentral Academy of Fine Arts,although he was thought to be talented in art.

In 1962 Gao graduated from the Department of French, BFSU, and then he worked for the Chinese International Bookstore (Trung quốc quốc tế thư điếm). During the 1970s, because of theDown to the Countryside Movement,he was persecuted as a public intellectual, forced to destroy his early writings, and was sent to the countryside to do hard labor in Anhui Province for six years.He taught as a Chinese teacher in Gangkou Middle School, Ningguo county, Anhui Province for a short time. In 1975, he was allowed to go back to Beijing and became the group leader of French translation for the magazineChina Reconstructs(《 trung quốc kiến thiết 》).

Gao Xingjian in 2008

In 1977 Gao worked for the Committee of Foreign Relationship, Chinese Association of Writers. In May 1979, he visited Paris with a group of Chinese writers includingBa Jin.In 1980, Gao became a screenwriter and playwright for theBeijing People's Art Theatre.

Gao is known as a pioneer ofabsurdistdrama in China, whereSignal Alarm(《 tuyệt đối tín hào 》, 1982) andBus Stop(《 xa trạm 》, 1983) were produced during his term as resident playwright at the Beijing People's Art Theatre from 1981 to 1987. Influenced by European theatrical models, it gained him a reputation as an avant-garde writer. The production of the former work (the title of which has also been translated asAbsolute Signal) was considered a breakthrough and trend-setter in Chinese experimental theatre.His bookPreliminary Explorations Into the Art of Modern Fictionwas published in September 1981and reprinted in 1982, by which point several established writers had applauded it.His playsWild Man(1985) andThe Other Shore(《 bỉ ngạn 》, 1986) openly criticised the government's state policies. The rehearsal of the latter was ordered to stop after one month.

In 1986 Gao was misdiagnosed with lung cancer, and he began a 10-month trek along theYangtze,which resulted in his novelSoul Mountain(《 linh sơn 》). The part-memoir, part-novel, first published in Taipei in 1990 and in English in 2000 by HarperCollins Australia, mixes literary genres and utilizes shifting narrative voices. It has been specially cited by the Swedish Nobel committee as "one of those singular literary creations that seem impossible to compare with anything but themselves." The book details his travels from Sichuan province to the coast, and life among Chinese minorities such as the Qiang, Miao, and Yi peoples on the fringes of Han Chinese civilization.

Years in Europe and Paris

By the late 1980s, Gao had shifted toBagnolet,a city adjacent to Paris, France. His 1989 political dramaFugitives(also translated asExile), about three people who escape to a disused warehouse after the tanks roll into Tiananmen Square on4 June 1989,resulted in all his works being banned from performance in China and he was officially deemedpersona non grata.

Works

Selected works:

Dramas and performances

• 《 tuyệt đối tín hào 》 (Signal Alarm/Absolute Signal,1982)
  • 1982, inBeijing People's Art Theatre
  • 1992, in Taiwan
• 《 xa trạm 》 (Bus Stop,1983)
  • 1983, inBeijing People's Art Theatre
  • 1984, in Yugoslavia
  • 1986, in Hong Kong
  • 1986, in Britain, University of Leeds, England. Translated and Directed by Carla Kirkwood
  • 1991, in United States (California) Southwestern College, Chula Vista. Translated and Directed by Carla Kirkwood.
  • 1992, in Austria
  • 1997, in United States (Massachusetts) Smith College, Northampton. Translated and Directed by Carla Kirkwood.
  • 1999, in Japan
  • 2004, in United States (California) University of California at San Diego. Translated and Directed by Carla Kirkwood
• 《 dã nhân 》 (Wild Men/Wilderness Man,1985)
  • 1985, inBeijing People's Art Theatre
  • 1988, in Hamburg, Germany
  • 1990, in Hong Kong
• 《 bỉ ngạn 》 (The Other Shore,1986)
  • 1986, published in magazineOct.(《 thập nguyệt 》),Beijing
  • 1990, in Taiwan
  • 1994, translated intoSwedishbyGöran Malmqvist
  • 1995, inThe Hong Kong Academy for Performing Arts
  • 1997, translated into English byJo RileyasThe Other Side
  • 1999, translated into English by Gilbert C. F. Fong
• 《 đóa vũ 》 (Shelter the Rain)
  • 1981, in Sweden
• 《 minh thành 》 (Dark City)
  • 1988, in Hong Kong
• 《 thanh thanh mạn biến tấu 》 (Transition of Sheng-Sheng-Man)
  • 1989, in United States
• 《 đào vong 》 (Fugitives/Exile,1989)
  • 1990, published in magazineToday(《 kim thiên 》)
  • 1990, in Sweden
  • 1992, in Germany, Poland
  • 1993, in USA. Translated byGregory B. Leein Gregory Lee (ed.),Chinese Writing in Exile,Center for East Asian Studies, University of Chicago, 1993.
  • 1994, in France
  • 1997, in Japan, Africa
• 《 sinh tử giới 》 (Death Sector/Between Life and Death)
  • 1991, published in magazineToday(《 kim thiên 》)
  • 1992, in France
  • 1994, in Sydney, Italy
  • 1996, in Poland
  • 1996, in US
• 《 sơn hải kinh truyện 》 (A Tale ofShan Hai Jing)
  • 1992, published by Hong Kong Cosmos Books Ltd. (Hương cảng thiên địa đồ thư công tư)
  • 2008, published by The Chinese University Press asOf Mountains and Seas: A Tragicomedy of the Gods in Three Acts
• 《 đối thoại dữ phản cật 》 (Dialogue & Rhetorical/Dialogue and Rebuttal)
  • 1992, published in magazineToday(《 kim thiên 》)
  • 1992, in Vienna
  • 1995, 1999, in Paris
• 《 chu mạt tứ trọng tấu 》 (Weekends Quartet/Weekend Quartet)
  • 1999, published by Hong Kong New Century Press (Hương cảng tân thế kỷ xuất bản xã)
• 《 dạ du thần 》 (Nighthawk/Nocturnal Wanderer)
  • 1999, in France
• 《 bát nguyệt tuyết 》 (Snow in August)
  • 2000, published by Taiwan Lianjing Press (Đài loan liên kinh xuất bản xã)
  • Dec 19, 2002, in Taipei
• 《 cao hành kiện hí kịch tập 》 (Collection)
• 《 cao hành kiện hỉ kịch lục chủng 》 (Collection, 1995, published by Taiwan Dijiao Press (Đài loan đế giáo xuất bản xã ))
• 《 hành lộ nan 》 (Xinglunan)
• 《 khách ba lạp sơn 》 (Mountain Kebala)
• 《 độc bạch 》 (Soliloquy)

Fiction

• 《 hàn dạ đích tinh thần 》 ( "Constellation in a Cold Night", 1979)
• 《 hữu chỉ cáp tử khiếu hồng thần nhi 》 ( "Such a Pigeon called Red Lips", 1984) – a collection of novellas
• 《 cấp ngã lão gia mãi ngư can 》 (Buying a Fishing Rod for My Grandfather,1986–1990) – a short story collection
• 《 linh sơn 》 (Soul Mountain,1989)
• 《 nhất cá nhân đích thánh kinh 》 (One Man's Bible,1999)

Poetry

While being forced to work as a peasant – a form of 'education' under theCultural Revolution– in the 1970s, Gao Xingjian produced many plays, short stories, poems and critical pieces that he had to eventually burn to avoid the consequences of his dissident literature being discovered.Of the work he produced subsequently, he published no collections of poetry, being known more widely for his drama, fiction and essays. However, one short poem exists that represents a distinctively modern style akin to his other writings:

Thiên táng đài

Tể liễu / cát liễu / lạn đảo toái liễu / nhiên nhất trụ hương / đả nhất thanh hô tiếu / lai liễu / tựu khứ liễu / lai khứ đô càn càn tịnh tịnh

Sky Burial

Cut / Scalped / Pounded into pieces / Light an incense / Blow the whistle / Come / Gone / Out and out

(April 13, 1986, Beijing)

Other texts

• 《 ba kim tại ba lê 》 (Ba Jin in Paris,1979, essay)
• 《 hiện đại tiểu thuyết kỹ xảo sơ tham 》 ( "A Preliminary Examination of Modern Fictional Techniques", 1981)
• 《 đàm tiểu thuyết quan hòa tiểu thuyết kỹ xảo 》 (1983)
• 《 một hữu chủ nghĩa 》 (Without -isms,translated by W. Lau, D. Sauviat & M. Williams // Journal of the Oriental Society of Australia. Vols 27 & 28, 1995–96
• 《 đối nhất chủng hiện đại hí kịch đích truy cầu 》 (1988, published by China Drama Press) (Trung quốc hí kịch xuất bản xã))
• 《 cao hành kiện ·2000 niên văn khố —— đương đại trung quốc văn khố tinh độc 》 (1999, published by Hong Kong Mingpao Press) (Hương cảng minh báo xuất bản xã)

Paintings

Gao is a painter, known especially for hisink and wash painting.His exhibitions have included:

• Le goût de l'encre,Paris, Hazan 2002
• Return to Painting,New York, Perennial 2002
• "Vô ngã chi cảnh · hữu ngã chi cảnh", Singapore, Nov 17, 2005 – Feb 7, 2006
• The End of the World,Germany, Mar 29, – May 27, 2007
• Calling for A New Renaissance,Taiwan, 2016
• Solitude u cư - A Solo Exhibition by Gao Xingjian,iPreciation,Singapore, 2021

Works translated into English

• Bus Stop(Che zhan):
  • Translated by Kirkwood, Carla. "Bus Stop".Modern International Drama Journal.SUNY Binghamton. Spring 1995.
  • Yu, Shiao-ling, ed. (1996). "The Bus Stop".Chinese Drama After the Cultural Revolution.Translated by Yu, Shiao-ling.Edwin Mellen.ISBN978-0773487802.
  • Yan, Haiping, ed. (1997). "The Bus Stop".Theater and Society.Translated by Besio, Kimberly.M.E. Sharpe.ISBN978-0765603081.
• Buying a Fishing Rod for my Grandfather,short stories, trans. Mabel Lee, Flamingo, London, 2004,ISBN0-00-717038-6
• Gao Xingjian: Aesthetics and Creation(2012), essays, trans. Mabel Lee.Cambria Press.ISBN978-160-49-7836-0
• One Man's Bible,novel, trans. Mabel Lee. Flamingo.ISBN0-06-621132-8
• The Other Shore(Bi'an):
  • "The Other Shore".The Other Shore: Plays by Gao Xingjian.Translated by Fong, Gilbert C. F. Chinese University Press. 1999.ISBN962-201-862-9.
  • Cheung, Martha P. Y.; Lai, Jane, eds. (1997). "The Other Side".An Oxford Anthology of Contemporary Chinese Drama.Translated by Riley, Jo. Oxford University Press.ISBN0-19-586880-3.
• Ballade Nocturneby Gao Xingjian. Translated by Claire Conceison. The Cahiers Series. Lewes, UK: Sylph Editions and the American University of Paris, 2010.
• Silhouette/Shadow: The Cinematic Art of Gao Xingjian,film/images/poetry, ed. Fiona Sze-Lorrain. Contours, Paris,ISBN978-981-05-9207-3
• Soul Mountain,novel, trans. Mabel Lee, Flamingo, London, 2001,ISBN0-00-711923-2
• Wild Man.Translated by Roubicek, Bruno.Asian Theatre Journal.University of Hawaii Press.7(2): 184–249. Autumn 1990.JSTOR11243338
• Calling for a New Renaissance,ed. by Mabel Lee, trans. Mabel Lee and Yan Qian, Cambria Press, 2022.ISBN978-1621966548- includes 50 images, of which 45 are paintings selected by Gao Xingjian from his private collection.

Reception

In the Eastern Hemisphere

Gao first saw success and gained critical recognition with the publication of his novellaHanye de xingchen《 hàn dạ đích tinh thần 》 (1980; "Stars on a Cold Night" ). When theChinese Writers' Associationlaunched two mass meetings to attackPreliminary Explorations Into the Art of Modern Fiction,a work which caused national controversy, well-known writers came forward to speak in defense of it.Australian sinologistGeremie Barméstated in 1983 that the work gave some coherence to Chinese writers' attempts to understand Western art and literature afterWorld War I,but "reads more like a loose collection of jottings and reflections [...] the only reason that it has become the Bible of Chinese modernists is that there is an absolute paucity of similar material for a non-specialist readership."

He became a resident playwright with the Beijing People's Art Theatre in 1981, and in 1982 he wrote his first play,Absolute Signal.A committee appointed by theMinistry of Cultureunanimously votedAbsolute Signalthe best play in a compilation of recent plays, though the playwright was by then a controversial figure and it was excluded from above as "ineligible for selection".His absurdist dramaChezhan(1983; Bus Stop) incorporated various European techniques from European Theater. WhileCao YupraisedBus Stopas "wonderful", it was openly condemned by Communist Party officials.He left Beijing and went into self-exile, returning in November 1984.His 1985 playYeren(Wild Man) was favorably received, and according to scholar Gilbert C. F. Fong represented "the pinnacle of the development of experimental drama at the time. It also gave notice that drama [...] did not have to be guided by the concerns for socialist education or political usefulness, and that interpretive lacunae in any piece of work [...] would enhance artistic effectiveness."

Both Western and Chinese critics describedThe Bus Stopas the first play to introduce elements of the Theatre of the Absurd to China, whileWild Manwas considered to be influenced by Chinese theatrical traditions and praised more for its effort to improve the range of expression open to Chinese performing artists.Absolute Signal,Bus Stop,andWild Manhave been described as "both the origin and culmination of the initial phase of the Chinese avant-garde".In 1986 his playThe Other Shorewas banned, and since then none of his other plays have been performed on the mainland.

Response from Zhu Rongji

PremierZhu Rongjiof theState Council of the People's Republic of Chinadelivered a congratulatory message to Gao Xingjian when interviewed by the Hong Kong newspaperEast Daily(《 đông phương nhật báo 》):

• Q.:What's your comment on Gao's winning Nobel Prize?
• A.:I am very happy that works written in Chinese can win the Nobel Prize for Literature. Chinese characters have a history of several thousand years, and Chinese language has an infinite charm, (I) believe that there will be Chinese works winning Nobel Prizes again in the future. Although it's a pity that the winner this time is a French citizen instead of a Chinese citizen, I still would like to send my congratulations both to the winner and the French Ministry of Culture.(Original words: Ngã ngận cao hưng dụng hán ngữ tả tác đích văn học tác phẩm hoạch nặc bối nhĩ văn học tưởng. Hán tự hữu kỉ thiên niên đích lịch sử, hán ngữ hữu vô cùng đích mị lực, tương tín kim hậu hoàn hội hữu hán ngữ hoặc hoa ngữ tác phẩm hoạch tưởng. Ngận di hám giá thứ hoạch tưởng đích thị pháp quốc nhân bất thị trung quốc nhân, đãn ngã hoàn thị yếu hướng hoạch tưởng giả hòa pháp quốc văn hóa bộ biểu kỳ chúc hạ.)

Comments from Chinese writers

Gao's work has led to fierce discussion among Chinese writers, both positive and negative.

In his article on Gao in the June 2008 issue ofMuse,a now-defunct Hong Kong magazine,Leo Ou-fan Leepraises the use of Chinese language inSoul Mountain:'Whether it works or not, it is a rich fictional language filled with vernacular speeches and elegant văn ngôn (classical) formulations as well as dialects, thus constituting a "heteroglossic" tapestry of sounds and rhythms that can indeed be read aloud (as Gao himself has done in his public readings).'

Before 2000, a dozen Chinese writers and scholars already predicted Gao's winning the Nobel Prize for Literature, including Hu Yaoheng (Chinese: Hồ diệu hằng )Pan Jun (Phan quân)as early as 1999.

Jessica Yeung ofHong Kong Baptist Universitypraised the story "Twenty-Five Years Later" (1982), writing that the manipulation of narrative perspectives creates effective humor and irony.

In the western world

Gilbert C. F. Fong has calledPreliminary Explorations Into the Art of Modern Fiction"a rather crude attempt at theory".His playsAbsolute Signal,Bus Stop,andWild Mangave him a positive reputation overseas.A review inThe Christian Science MonitorpraisedWild Manas "truly amazing".Deirdre Sabina Knight ofSmith Collegepraised Gao's "inventiveness" in a review of Fong's translations of five of the plays.Each play is followed by notes written by Gao, and John B. Weinstein ofSimon's Rock College of Bardargues that these notes "combine the practical with the theoretical. As a group, they embody a significant body of dramatic theory." Weinstein said that "tripartition allows Gao to probe his characters more deeply by presenting multiple perspectives for each one", and thatWeekend Quartet(in which characters' self-analyses are integrated with more realistic settings and everyday situations than those of the other plays Fong translated) is a step toward Gao's theories being applied to plays besides his own. The primary translators of Gao's work into English are Mabel Lee (novels and essays from Chinese to English), Gilbert Fong (plays and poetry from Chinese to English), Noel Dutrait (novels and essays from French to English), and Claire Conceison (plays from French to English). English-language scholars who have written books about Gao's work include Sy Ren Quah, Letizia Fusini, Todd Coulter, Izabella Labedzka, and Mary Mazzilli.

Influence of Gao's work in other fields

The work of Gao Xingjian inspired professor Jin Hsu-ren from the Department of Educational Psychology and Counseling atNational Taiwan Normal Universityto create a psychological therapy called "Psychological Displacement Paradigm in Diary-writing" (PDPD) based on the waySoul Mountainwas written, using the three pronoun positions of "I", "you" and "he/she".

Honors

• 1985, DAAD Fellowship, Germany
• 1989,Asian Cultural CouncilFellowship, United States
• 1992,Chevalier de l'Ordre des Arts et des Lettres
• 2000,Nobel Prize in Literature
• 2000, Premio Letterario Feronia in Rome
• 2001, honorary doctorate byChinese University of Hong Kong
• 2001, honorary doctorate byNational Sun Yat-sen University
• 2002, honorary doctorate byNational Chiao Tung University
• 2002,Legion of Honourby then French PresidentJacques Chirac
• 2002, Golden Plate Award of theAmerican Academy of Achievement
• 2003,l'Anne Gao Xingjian,the City ofMarseille
• 2005, honorary doctorate byNational Taiwan University
• 2006,Lions Award,by theNew York Public Library(NYPL) at Library Lions Benefit event
• 2017, honorary doctorate byNational Taiwan Normal University
• 2023, elected as aRoyal Society of LiteratureInternational Writer

Gao Xingjian Center at National Taiwan Normal University

For a long time Gao Xingjian has considered Taiwan his home and has a deep connection withNational Taiwan Normal University(NTNU). In 2008, he accepted President Gou Yih-shun's invitation to become an honorary chair professor at the university. In 2011, President Chang Kuo-En traveled to France to extend an invitation, resulting in Mr. Gao becoming a chair professor at the Graduate Institute of Performing Arts in 2012, where he has been teaching courses for several years. His exceptional accomplishments and remarkable contributions to society led him being awarded an honorary doctorate in literature from NTNU in 2017.

Since 2012, NTNU has collaborated closely with Professor Gao to organize a series of events and performances. For instance, in 2012, the university arranged the "Encounter Gao Xingjian at NTNU - Commemorating the Visit of Nobel Laureate in Literature Gao Xingjian." In 2014, NTNU, in conjunction with theNational Palace Museum,co-presented the Taiwanese premiere of the cinematic poem "Requiem for Beauty," alongside the publication of the corresponding art book. Furthermore, Professor Gao himself donated and unveiled the Xingjian Hall, a rehearsal room for the Graduate Institute of Performing Arts. The years following saw additional significant events, including the "Gao Xingjian Art Festival" in 2017, where his ink wash painting "The Thinker" was presented, and the "Gao Xingjian Week" in 2019, which introduced courses such as "The Literature and Art of Gao Xingjian" and "Studies on Plays of Gao Xingjian", curses currently offered by NTNU each semester. Meanwhile, the Graduate Institute of Performing Arts performed several of his iconic works, including the Mandarin debut of "Nocturnal Wanderer" (2012), the vibrant rock-and-roll musical "Mountains and Seas" (2013, 2017), the dance theater production "Soul Mountain"(2016, 2017), the monologue" Soliloquy "(2019), and the university repertory production" Soliloquy on Soul Mountain "(2019).

In 2020, Professor Gao celebrated his 10th year as an NTNU chair professor, commemorating this milestone by generously donating various manuscripts and pertinent books to the university. As a testament to the academic bond with Professor Gao and to foster research on his works, NTNU established the Gao Xingjian Centeron the sixth floor of the NTNU Library. This center serves as a repository for his writings, documents, and relevant research materials. Leveraging its strengths and distinct characteristics in the realm of arts and humanities, as well as interdisciplinary collaboration across the College of Liberal Arts, College of Arts, and College of Music, NTNU aspires to emerge as a pivotal research hub for Gao Xingjian's works within the Chinese-speaking world.

Personal life

Gao is an atheist.

See also

• Chinese literature
• List of Nobel laureates in Literature
• List of Chinese writers

Bibliography

• Fong, Gilbert C. F. (1999). "Introduction".The Other Shore: Plays by Gao Xingjian(PDF).Chinese University Press.ISBN978-962-201-974-4.
• Lackner, Michael; Chardonnens, Nikola (June 23, 2014).Polyphony Embodied - Freedom and Fate in Gao Xingjian's Writings.Walter de Gruyter GmbH & Co KG. p. 25.ISBN978-3-11-035187-3.
• Gao, Xingjian (January 1, 2007). "Introduction: Contextualising 2000 Nobel Laureate Gao Xingjian".The Case for Literature.Introduction by Mabel Lee. Yale University Press.ISBN978-0-300-12421-7.
• Yeung, Jessica (July 1, 2008).Ink Dances in Limbo: Gao Xingjian's Writing as Cultural Translation.Hong Kong University Press.ISBN978-962-209-921-0.

External links

• AppearancesonC-SPAN
• Gao Xingjiancollected news and commentary atThe New York Times
• The Voice of One in the Wilderness] critical essay on the works of Gao Xingjian by Olivier Burckhardt, PN Review #137, 27:3 (Jan–Feb 2001) 28–32, shorter version also published in Quadrant. 44:4 (2000) 54–57, and anthologized inContemporary Literary CriticismVol. 167, ed. Jeff Hunter, Gale Publishing, (2003) 200–204
• Gao Xingjian:Bio, excerpts, interviews and articles in the archives of thePrague Writers' Festival
• List of Works
• "The Challenge to the 'Official Discourse' in Gao Xingjian's Early Fiction"by Deborah Sauviat. First-class Honours thesis. University of Sydney, 1996.
• Gao Xingjian and "Soul Mountain:Ambivalent Storytelling,Robert Nagle, Houston, Texas, 2002.