The phenomenon of the M-shaped Theater, which is proposed by Li-Heng Li (2008), means the two extremes of theatrical performances in Taiwan. Either they are thoroughly original plays, or entirely adapted from classic works without new interpretations. It seems that Taiwan’s theatrical groups have not been, at least in the past, confident enough to give the classic works new looks.
Winning, which has always been the climax of reality show, could be manipulated. Manipulation itself, as a matter of fact, would not be totally fresh to us. Tracing back the history of beauty contests, we can easily grasp the examples about winning which had been entirely manipulated. Nonetheless, we should actually be surprised, or even, be irritated, by the fact that the winning in reality show such as America’s Next Top Model could also be manipulated as well.
As a faithful audience of America’s Next Top Model—the most successful modeling reality show in the world—I used to take all this show brought to me. Nonetheless, while dramatic scenes take place more and more frequently, I start to question the reliability of my favorite TV show. Is it a reality show which literally supposed to be presented authentically, or does it inevitably become a drama after all?
Singers in Taiwan, as a matter of fact, collectively follow certain rituals for a promising career. The premieres for their albums, Chinese as 簽唱會, are probably the most popularly-applied rituals. Singers, whether they are newly-coming or not, would definitely have premieres before the albums officially released. They could be highly encouraged by the premieres since there mostly would be many people appearing––including the real fans and those ones who merely desire to see the so-called stars.
On the other hand, fans could, in these premieres, get the signatures from their favorite stars, and have a chance to see them in a close distance as well. The fans, therefore, participate in the rituals mutually with their favorite singers.
Based on Bakhtin’s argument, there is huge difference between “novelistic discourse” (269) and “poetic discourse” (269). “Novelistic discourse” will contain diversity of language—which is called “heteroglossia” (263)—with various intentions and social connections.
The paragraph I want to get a closer reading is on page 160, starting from “The knight has already gone” to “who is the daughter of a very prominent duke.” This scene is actually about Don Quixote’s ideal future picture of the process how to be a king.
處之翼的小說作品[5]
