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 㥺 㥺 㥺 㑦 ﷿ 敵 ﷿ ﷿ ﷿ 䭝 菱 ቔ 䲈 ᜰ 饬 ﷿ 灰 䍦 镺 ꭳ 沎 扞  䡙 〄 慲
﷿ 䭝 䡙 〄 菱 ǿ
 縤 屭 ﷿ 蚀  袟 ᝧ Ϳ ﷿ 頤 ᑻ  큒 䍎 䲞 ﷿ ▌ 鎐 ﶏ ͗ ǿ 佧
䡑 ﷿ ቔ 䲈 ᜰ   詟 ﷿ ﷿ ㉵ 詟 ቔ ⱕ 佧 䡑 ﷿ 鑩 ﷿
掠 쑜 慲 ඟ ⢞ 佧 㝵 ﷿ 佧 츰 沎 扞 ﷿ 욈 ⱕ Ŗ 佧 躂 뵕
ቔ 䲈 ᜰ 颗 供 䝸  詟 ⁔ ֖ ﷿ ﶏ ﶏ 䍎 肟 粆  㑩 炙 ǿ
垇  ﷿ ሣ 鎐 ﷿ 齞 ݿ ﷿ ﷿ ﷿ 쥚 얃 ﷿ 鑩 큒  認 慲 ቔ 䲈
ᜰ ﷿ ⵿ 灰 橕 橕 㑦 镺   ﷿ ᆌ ౨ 湭 繢 쾍 힀 䡙 〄 ㊕
㑮 쉗 ﷿ ꅢ ǿ  慲 ሣ 鎐 큩 ﷿ 춀 饬 舤 䡙 ﷿ 䡙 ﷿ 豸 䡙 ﷿ 噧 䡙
﷿ 冞 鹭 䡙 ﷿ 陞  䡙 ﷿ 푎 䡙 ⱕ 慲 ݿ ₌ ﷿ 豸
﷿ 舤 ﷿ 冞 鹭 ﷿ 쉰 ﷿ 噧 袘 ﷿ 陞 ﷿ ږ 㦑 썹 ఱ ஐ 䪞
ၬ 얃 ⱕ ₌ 㹥 흢 ⱐ 䲈   ﷿ ⩧ 慲 袟 ﷿ ﷿ 큢 좉 ﷿ ꁺ 㑦
 델 덚 閭 䦛 饬 ﷿  袟 ₌ ᝧ ₌ ﷿ ﷿ ℥ ꉣ ﷿ ⱐ 䲈 ﷿ 큢 慲 ﷿ 菱 ǿ 0
灰 橕 䍎 㥺 㑦  ﷿ 军 졵 岄 慲 ቔ 䲈 ᜰ ﷿ 끛 啐 솂 䑑 둫 鹭 䡙 〄 힀 钙 ﷿ 춀 䡙 〄
偿 흎 ǿ 灰 橕  㑦 덚 쑲 ᝓ ᨥ 钙 䦕 〄 䦕 ǿ 灰 橕 艔 橕 㑦 ﷿ 䖖 踤 肀
䡙 〄 ᭒ ﷿  ﷿ ݿ Ŏ  햅 ろ ﷿ Ŏ 婑 쪃 ろ ﷿ Ŏ ᦀ ろ ﷿ Ŏ ⹔ ୨ ろ
﷿ Ŏ 륲 㺔 ろ ﷿ Ŏ 橭 Ϳ ろ ﷿ Ŏ 敵 ⴥ ろ ﷿ 匰 ﷿ ሣ 鎐 Ŏ 녩 㑿 ろ ﷿ Ŏ 灰 袟 慲
쨰 ﷿ ろ 䪞 ǿ
ቔ 䲈 ᜰ 慲 鎙 彲 녜 卨 ﷿ ꁪ 啛 ǿ 慲 ሣ 鎐 䱱 㑸 䲞 ႌ
﷿ 纆 慲 晗 佧 ⓿ ﷿ 㡸 ꕷ ⊈  䊕 ﷿ 檓 驔 慲 䦕 ᵓ
赩 ﷿ ꅭ 饬 蚀 㥸 灰 쵹 ሣ 鎐 慲 葧 ⱕ 慲 ݿ 纆 蚀
军 ቩ 鉺 䡙 〄 慲 䎑 薔 聢 啬 힀 䑑 ꁏ ﷿ 〄 䶖  ➌  Ґ 鉺 慲 ﷿ ቩ ﷿ 욈 ﷿ ﷿ 榈
籭 慲 ﷿ ꅥ 繢 ﷿ 鎐 ﷿ ﷿ 齞  힀 军 ቩ 慲 ꁪ 齞 ݿ 斈 Ş 灰 ﷿ ⱕ ಌ 䩡 䑑 军 䡙
﷿ 慲 斗 䭢 Ŗ  ꪔ 썱 呔 ﷿ Ŗ 챩 慲 ﷿ ﷿ ﷿ ꆔ 䑑 ǿ
蝳 ﷿ 沎 扞 䡙 〄 肀 慲 ﷿  颗 湭 군 ꩧ  㝵 慲
詰 넃 썹 䦕 ᵓ 慲 ﷿ ㊈ ᭒ 硱 ﷿ ﷿ 䑑 䡙 ሣ 鎐 繢 쾍 썹 齞 ݿ ﷿ 蚀 慲 嚍 ｎ ǿ 쉗 ቔ
䲈 ᜰ 慲 镺 ﷿ Ŗ ಄ 詟 䡑 鉙 륞 䍦 ﷿ ቩ 䍦 繢 쾍 菱 慲 ﷿ 鉺 䑑 䡙 〄 慲
睚 솈 佧 蚀 慲 힀 饘 띩 ǿ
The 2000 Nobel Laureate in Literature - Gao
Xingjian - is a multi-faceted artist who is just as comfortable
being a writer, a dramatist and a painter. This programme looks
at what he has been able to achieve in each of his chosen fields.
Though he does not court controversy, it seems to follow him wherever
he goes. Many find the choice of him for the 2000 Nobel Laureate
in Literature highly disputable. The Chinese Government went as
far as accusing the Swedish Academy's decision as politically motivated.
When he was still in China his plays and his writings generated
a lot of debate. They were strongly criticized and censured by the
Government for being anti-socialist and for introducing polluting
influence from the West and subsequently banned.
The programme traces how his exposure to world literature and art
as a child shaped his universal outlook. The liberal education he
received failed to equip him for the oppressive socio-political
system in China. The collective uniformity required of a writer
suffocated his individual creative freedom. His response was to
go into exile. His first exile into the wilds of Southwestern China
produced "Soul Mountain". His second exile brought him
to Paris where he found his medium to pursue all his creative activities
free from the watchful eyes of any overriding authorities.
However, even in the West ideologies abound, th ere is still pressure
to follow art trends, to bend to the market. He keeps to the margin
of society and continues to create in a state of isolation in order
to pursue the kind of literature he calls "Cold Literature"
- a literature that is honest, personal, and uncompromising.
He has the luxury to write what is not popular, what does not sell
because he can make a living as a painter. His paintings, like his
novels and his plays, grew from a solid grounding in Chinese culture
and Western art and literature. While taking what is rich and interesting
from his Chinese origin, he broke away from tradition to forge a
path of his own that is at once unique and universally appealing.
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