How did writers in Maoist China assume their role as authors, torn between self-expression and the political demands of the Party? How should we read the literary creations produced at a time in which literary works were not always candid expressions of the authors, but were manifestations of complex negotiations and self-censorship? This chapter provides a case study to illustrate these quandaries, focusing specifically on Tian Han’s historical dramas produced during the late 1950s. It illustrate how Tian Han tried to use historical and intercultural allegories to come to terms with contemporary happenings and offers an analysis of a rarely studied but extremely representative work,Princess Wencheng, that embodies the struggles of the Party and the Han intellectuals with the Tibetan problems during that time.
Implication of Love and Death in the Tian Han Aestheticism Drama
