Gao Xingjian’s 高行健 2000 Nobel Prize win is a commonly cited example of the global literary market’s “technologies of recognition,” where the West acts as an “agent of recognition,” which recognizes the other according to its own standards, while the non-West is an “object of recognition,” that desires to be recognized. Rather than presuming the passivity of Gao’s reproduction of Western cultural dominance, I am more interested in exploring how he actively reconstructs Chinese culture with Orientalist elements. For example, Of Mountains and Seas (Shanhaijing zhuan 山海經傳 1989) and Snow in August (Bayuexue 八月雪 1997) are two plays which Gao completed in France and which appropriates ancient Chinese cultures. With reference to Gao’s “cold” (leng 冷) theatrical techniques of suppositionality (jiadingxing 假定性) and tripartite acting (biaoyan de sanchongxing 表演的三重性), I argue that these two plays address feminist and religious limitations in ancient Chinese cultures by strategically appropriating Orientalist stereotypes in their portrayals of the Chinese mythology of Chang E escaping to the moon (Chang E benyue 嫦娥奔月) and Zen Buddhism respectively. Overall, this paper contributes a more nuanced understanding of Gao’s negotiations with Orientalism:Gao’s “escape” from Orientalism is less about the avoidance of Orientalism than atheatrical staging of Orientalism.

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