Chronology of Plays Discussed in the Book - Springer978-1-137-52944-2/1.pdf · APPENDIX 2 Glossary...
Transcript of Chronology of Plays Discussed in the Book - Springer978-1-137-52944-2/1.pdf · APPENDIX 2 Glossary...
242
Pre
mi è
re
Tit
le
Com
pany
Pl
ayw
righ
t D
irec
tor
Stag
e D
esig
ner/
Scen
ogra
pher
1980
Hez
hu’s
New
Mat
ch
Lan
-lin
g T
heat
re W
orks
hop
Jin
Shiji
eJi
n Sh
ijie
Xu
Ron
gcha
ng (
prop
/cos
-tu
me
desi
gn)
1982
Abs
olut
e Si
gnal
B
eijin
g Pe
ople
’s A
rt T
heat
reG
ao X
ingj
ian,
Liu
H
uiyu
anL
in Z
haoh
uaH
uang
Qin
gze
1993
Can
Thr
ee M
ake
It?
Part
II
I—O
h! T
hree
Div
erge
d Pa
ths
Pin
g-Fo
ng A
ctin
g T
roup
eL
i Guo
xiu
Li G
uoxi
uZ
hang
Yic
heng
1996
Shan
g Y
ang
Shan
ghai
Dra
mat
ic A
rts
Cen
tre
Yao
Yuan
Che
n X
inyi
Hua
ng H
aiw
ei
1996
Peki
ng O
pera
: The
R
evel
atio
n P
ing-
Fong
Act
ing
Tro
upe
Li G
uoxi
uL
i Guo
xiu
Nie
Gua
ngya
n
1998
Thr
ee S
iste
rs &
Wai
ting
for
God
ot
Lin
Zha
ohua
The
atre
Stu
dio
Ant
on C
hekh
ov/
Sa
mue
l Bec
kett
Lin
Zha
ohua
Yi L
imin
g
1999
Fiel
d of
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eath
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entr
al E
xper
imen
tal
The
atre
Tia
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Tia
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20
01 R
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Lin
Zha
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ong
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Fred
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Mao
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2003
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our
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Hon
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Rep
erto
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The
atre
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2005
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lad
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th
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A
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Hua
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2006
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Lin
Zha
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Yi L
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243
2006
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ater
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heat
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M
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zhou
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cont
ribu
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s by
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n Sh
aom
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iang
Zhi
, Jia
ng
Jie,
Oliv
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yons
2006
The
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Lan
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Art
The
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ldro
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angh
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Cai
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ng Q
i
2008
Lu
Xun
200
8 G
rass
Sta
ge, B
ody
Phas
e St
udio
(T
aiw
an),
Da-
M
The
atre
(To
kyo)
and
Cla
sh
The
atre
(H
ong
Kon
g)
Ada
ptat
ion
by
Com
pany
mem
bers
Zha
o C
huan
, W
ang
Mol
in,
Hir
oshi
O
hash
i and
To
ng S
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Hon
g
Zha
o C
huan
2008
Squa
t G
rass
Sta
geL
i Ang
, ada
pted
by
Zha
o C
huan
Zha
o C
huan
Zha
o C
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2009
Arc
hive
s of L
ife
Dra
ma
Tro
upe
atta
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to
the
Polit
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Dep
artm
ent
of t
he P
LA
Men
g B
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Wan
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ong
Xia
o L
i
Gon
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iaod
ong
Sun
Don
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2009
The
Lit
tle
Soci
ety
Gra
ss S
tage
Zha
o C
huan
, Fen
g Z
i, H
ou Q
ingh
ui, Y
u K
ai, W
u M
eng
and
othe
rs
Zha
o C
huan
Zha
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2009
The
Sto
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rum
Lan
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ang
Xia
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nd W
ang
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jun
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aoju
n an
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u D
uL
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2010
The
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low
Sto
rm
Nat
iona
l The
atre
of C
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Tia
n Q
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ing
Tia
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inxi
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ie a
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20
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A P P E N D I X 2
Glossary of Names, Titles, and Specif ic
Expressions in the Main Text
English/Romanization used in the text
pinyin a
Absolute Signal Juedui xinhaoAlley/ hutong hutong A Chinese Grammatical
Discussion of “The Other Shore”
Guanyu “Bi’an” de yihui Hanyu cixing taolun
a son paying back his father’s debt
fuzhai zihuan
amateur drama aimeiju Amber HupoAn Yingapproval system baopi zhi Archival Museum of the
PLAZhongguo Renmin
Jiefangjun Dang’an Guanarchive or personal record dang’an Archives of Life Shengming dang’an Army for Revolution GemingjunArts Ensemble of the Chinese
People’s Armed ForcesWujing Wengongtuan
Association of Dramatists, National/under the Beijing Federation of Literary and Art Circles
Zhongguo Xijujia Xiehui/ Beijing Wenlian Xijujia Xiehui
Aurora Borealis, The Beiji zhi guangavant-garde xianfeng avant-garde theatre xianfeng xiju Ballad of Yellow Earth, The Huangtu yaoBei DaoBeibingmasi HutongBeijing’s first popular,
not-for-profit little theatreBeijing diyi jia minjian
gongyi xiaojuchangBeijing International
One-man Play FestivalBeijing Guoji Dujiaoxi
XijujieBeijing Nanluoguxiang
Performing Arts FestivalBeijing Nanluoguxiang
Xijujie
246 APPENDIX 2
English/Romanization used in the text
pinyin a
Beijing People’s Art Theatre Beijing Renmin Yishu Juyuan
Beijing-Shanghai Dual City Theatre Exchange
Beijing-Shanghai shuangchengji xiju jiaoliu huodong
being between alike and unlike
si yu busi zhijian
being the character, and not being the character
ji shi renwu, you bushi renwu
Body Phase Studio Shenti Qixiang Guan Bootleg Faust Daoban FushideBus Stop Chezhanbutting oxen dingniu Can Three Make It? Part I Sanren xingbuxing I Can Three Make It?
Part II—City Panic Sanren xingbuxing II—
Chengshi zhi huang Can Three Make It?
Part III—Oh! Three Diverged Paths
Sanren xingbuxing III—O! sanchakou
Cao YuCapital Theatre Shoudu JuchangCentral Academy of Drama Zhongyang Xiju XueyuanCentral Experimental
TheatreZhongyang Shiyan
HuajuyuanChan, Peter Chen KexinChang, Eileen Zhang AilingChen DabeiChen TianhuaChen Xinyi Cherry Orchard Yingtao yuanChessman Qiren Chiefs of Anti-Corruption
Bureau Fantan juzhang
China Youth Art Theatre Zhongguo Qingnian Yishu Juyuan
City of Sadness Beiqing chengshi City Metamorphosis Chengshi bianxingjiClash Theatre Zhuang Jutuan Close and Distant Scenes Jinjing yuanjingclose-up jinjing cloud-hands yunshou Cloud Gate Dance Theatre Yunmen Wuji Clown Loves the Beauty Xiaochou ai meili Collapse of the Great Wall Banli changchengconception of theatre xijuguan conceptual theatre guannian xiju constructing the alternative goujian minjian
APPENDIX 2 247
English/Romanization used in the text
pinyin a
Contract Management Responsibility System
chengbao zhidu
corporatization of entities zhuanqi gaizhi Critical Point Theatre
PhenomenonLinjiedian Juxianglu
cruel poeticism canku de shiyi Dai Wangshu Death of the Poets Shiren si leDe Ling & Empress
Dowager Ci XiDeling yu Cixi
Deng Xiaopingdisregard the family in
the interests of great righteousness
dayi mieqin
Ding Naizhu Do not Touch My Woman Wode laopo ni biedongDo one thing, and one thing
well, your entire life, and your accomplishment will be complete.
Ren, yibeizi neng zuohao yijianshi, jiu gongde-yuanman le.
Dongcheng District DongchengquDongcheng District Cultural
CommitteeDongchengqu Wenhua
WeiyuanhuiDongcheng Drama Alliance Dongchengqu Xiju
LianmengDongmianhua Hutong Dongmianhua hutongdouble serves erwei Downstream Garage Xiahe MicangDragon Inn Xin Longmen kezhanDrama Troupe attached to
the Political Department of the PLA
Zhongguo Renmin Jiefangjun Zongzhengzhibu Huajutuan (Zongzheng Huajutuan)
dual structure acting/directing
Biaoyan/daoyan de shuangchong jiegou
Eighteen Springs Bansheng yuanencourage tichang Feng JiangzhouFengchao Theatre Fengchao JuchangFengzi Field of Life and Death Shengsichangfield maneuver lalian File Zero Ling dang’anfiling system beian zhi final assessment made after
the lid is placed on a person’s coffin
gai guan lun ding
248 APPENDIX 2
English/Romanization used in the text
pinyin a
Fisherman’s Revenge Dayu shajia Flowers in the Mirror , Moon
on the Water Jinghua shuiyue
Forum on the Development of Nongovernmental Theatres in Ten Cities, the
Zhongguo shichengshi duli juchang fazhan luntan
For the Sake of the Republic Zouxiang gonghe Founding of A Republic Jianguo daye Founding of the Party Jiandang dayefun haowanr Gao Xingjiangezixigive full scope to hongyang godmother ganma Gong Xiaodong Gongfu (Kungfu)good people and good deeds haoren haoshi government paying the bills zhengfu maidan Grass Stage Caotai BanGu ChengHaizi Hai Rui Dismissed from Office Hai Rui baguanHe JipingHe Nian Head without Tail Guanyu aiqing guisu de
zuixin guannianHebei Provincial Spoken
Drama TheatreHebeisheng Huajuyuan
Hezhu’s New Match Hezhu xin peihighlight tuchu Hiroshi OhashiHo Yingfung He Yingfenghoney of the box office piaofang mitang Hong Kong Repertory
TheatreXianggang Huajutuan
Hong ShenHou QinghuiHou XiaoxianHu ZongqihuaijuHuang HaiweiHuang LeiHuang QingzeHuang XingHuang YingHuang Zuolin I Love XXX Wo ai XXX
APPENDIX 2 249
English/Romanization used in the text
pinyin a
Ice Cream Mountain Moshanin the play, and not in the play ji zai xi zhong, you buzai
xi zhong independent duli independent theatre duli xiju/duli juchang inquisition biwen insist jianchi Ji WeiranJiang HuaxuanJiang JieJiang QingJiang TaoJiang ZeminJiang ZhiJiang ZhihuiJiangnan LiguoJiao JuyinJiaodaokou Street
Administrative OfficeJiaodaokou Jiedao
BanshichuJin ShijieJin Yong jingju knight-errant xia Koo, Joseph Gu JiahuiKong ShangrenLai, Stan Lai ShengchuanLan-ling Theatre Workshop Lanling JufangLao She Last Winter Qunian dongtianLei FengLi AngLi BaiLi DongLi GuoxiuLi LiuyiLi Tiesheng Liangxiang /poseLiao ShifuLiao YimeiLin BiaoLin Jia-fengLin JueminLiu YunshanLin ZhaohuaLin Zhaohua Theatre Studio Lin Zhaohua Xiju
GongzuoshiLingyunyan
250 APPENDIX 2
English/Romanization used in the text
pinyin a
Little Society, The Xiao shehuiLittle Theatre (Movement) Xiaojuchang (yundong) Liu Kedonglong shot yuanjing Love Is Colder than Death Ai bi si geng lengkuLu Xun Lu Xun 2008 Luo Yihemain melody zhuxuanl ü Mao AnyingMao, Fredric Mao JunhuiMao Zedong Master Builder, The Jianzhu dashiMeng BingMeng Bing Phenomenon Meng Bing xianxiang Meng JinghuiMeng Jinghui Studio Meng Jinghui Xiju
GongzuoshiMini blog weibo model theatre yangbanxi Madman’s Diary, A Kuangren rijiMay Fourth Movement Wusi yundongMei Lanfangmigrant/peasant worker nongmin gongMou SenMu DeNanluoguxiang Culture and
Leisure StreetNanluoguxiang wenhua
xiuxianjienarrative acting xushu de biaoyan National Academy of Chinese
Theatre ArtsZhongguo Xiqu Xueyuan
national drama movement g uoju yundong National Theatre of China Zhongguo Guojia
Huajuyuannew drama xinjuNew Youth Xin qingnianNie Guangyan Night Inn YedianNing Caishen No. 81 in the Chaonei: A
Supernatural Thriller Lingyi jingsong wutaiju:
Chaonei 81 haoold drama jiujuorthodox drama zhengju Our Songs, Our Nostalgia Wode xiangchou, wode geOuyang Yuqian Peking Opera: The Revelation Jingxi qishiluPeking University Drama
SocietyBeida jushe
APPENDIX 2 251
English/Romanization used in the text
pinyin a
Peng DehuaiPenghao Theatre Penghao juchangPerformance Workshop Biaoyan Gongzuofangpetit-white-collar xiao bailing Ping-Fong Acting Troupe Pingfeng Biaoyanban pingtan Poly Theatre Baoli Juyuanpopular minjian popularization dazhonghua positive energy zheng nengliang privately run minying Pu Cunxinpublic welfare gongyixing public institutions shiye danwei QinQin HailuQiu Jin Records of the Historian Shi jiregistration system huji zhidu Ren Mingrepertory theatre dingmuju revolutionary history relics geming lishi wenwu Rhinoceros in Love Lian’ai de xiniu Richard III Licha sanshiSang Qi Savage Land, The Yuanye Searching for Li Dazhao Xunzhao Li DazhaoSecret of Our Resurrection Lihua mengself-introduction technique zi bao jiamen Shamlet ShamuleiteShang YangShanghai Dramatic Arts
CentreShanghai Huaju Yishu
ZhongxinShanghai Municipal
Government “Minimum Livelihood Guarantee”
Shanghaishi chengxiang jumin zuidi shenghuo baozhang biaozhun
Shanghai Theatre Academy Shanghai Xiju XueyuanShao YanpengShao ZehuiShen ShaominShi Zhishock the heaven and the
earth jingtian dongdi
Sima Qiansimulated madness zhuangfeng Sinicizing huaju huaju minzuhua Soft Rouruan
252 APPENDIX 2
English/Romanization used in the text
pinyin a
song-dance theatre/traditional/indigenous Chinese theatre/traditional opera
xiqu
Soul of the Republic Xinhai hunSouth Gong and Drum Lane Nanluoguxiangspoken drama/modern theatre huaju Squat Dunstage play wutaiju Story of Gong and Drum
Lane, The Luoguxiang de gushi
Story of the Deer and the Cauldron, The
Lu ding ji
storytelling/balladry shuochang yishu/ quyi Sun DongSun Jiazheng Sun Yat-sen Sun—Regicide, The Taiyang — shi Sunrise Richu Sweet & Sour Hong Kong Suansuan tiantian
Xianggang di Taking Tiger Mountain by
Strategy Zhiqu Weihushan
Tea House ChaguanTheatre Reform xigai theatre without time-space wu shikong xiju Three Sisters & Waiting for
Godot San jiemei–Dengdai
Geduo Thunderstorm LeiyuTian HanTian QiyuanTian QinxinTianjin People’s Art Theatre Tianjin Renmin Yishu
JuyuanTong Sze Hong Tang ShikangTong XianglingTsui, Hark Xu Ketrunk closing performance fengxiang yanchu turtle’s egg wangbadan Uncle Doggie’s Nirvana Gouerye niepanWang Chong Wang Deming Wang HanyiWang HongWang JingguoWang MolinWang Shaojun
APPENDIX 2 253
English/Romanization used in the text
pinyin a
Wang XiangWang YansongWang YueWang’s Eight Items Wang batiaoWarlords Tou ming zhuangWater Bar Shuibian BaWater Margin Shuihu zhuan Watermelon Xigua We Are One Family Mingyue heceng shi
liangxiang Wedding Memories N ü ’er hongWeiWen YiduoWhite Deer Prairie Bai lu yuanWildman Yerenwithin the system tizhi nei Wong, James Huang ZhanWu HanWu JingjiWu MengWu SongXi ChuanXi JinpingXiao HongXiao LiXiong FoxiXu RongchangXue DianjieYan HuichangYang CunbinYang ZirongYen, James Y. C. Yan YangchuYao Yi-weiYao Yuan Yellow Storm, The SishitongtangYi LimingYin ZhushengYu DafuYu JianYu KaiYu RongjunYu ShangyuanZhan HuilingZhang WuZhang YichengZhao ChuanZhao Liang
254 APPENDIX 2
English/Romanization used in the text
pinyin a
Zhao MiaoZhou EnlaiZhu RongjiZou Rong
a All Chinese written characters are in simplified form except for the materials from Taiwan and Hong Kong.
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Contributors
Shelby Kar-yan C HAN is associate professor at School of Translation, Hang Seng Management College, Hong Kong. She is the author of Identity and Theatre Translation in Hong Kong (2015). Her research interests include interpreting, Chinese-language theatre, Gao Xingjian, cinematic adaptation, gastronomic translation, and post-colonial studies. She has also translated four plays from English to Cantonese for stage performances in Hong Kong.
Xiaomei C HEN is professor in the department of East Asian Languages and Cultures at University of California at Davis. She is the author of Occidentalism: A Theory of Counter-Discourse in Post-Mao China (1995; revised and expanded edition, 2002), and Acting the Right Part: Political Theater and Popular Drama in Contemporary China (2002). She is the coeditor, with Claire Sponsler, of East of West: Cross-Cultural Performances and the Staging of Difference (2000), and with Julia Andrew, of Visual Culture in Contemporary China (2001). She is the editor of Reading the Right Texts (2003) and Columbia Anthology of Modern Chinese Drama (2010; abridged edition, 2014). She has authored 50 journal articles and book chapters, and her new book, titled Staging Chinese Revolutions: Founding Fathers, National Stage, and Revisionist Histories in Twentieth-Century China , is forthcoming from Columbia University Press.
Katherine Hui-ling C HOU is professor of English at National Central University in Taiwan, project director of NCU’s Performance Center and ETI (a digital archive of Taiwan’s modern theatre). She is a play-wright/director and has published widely; her recent research focus is performing arts in creative industry and cultural economy. Her aca-demic publications include Performing China: Actresses, Visual Politics and Performance Culture, 1910s–1945 , and her plays and productions include He Is My Wife, He Is My Mother and eight other works. She is also the editor-in-chief of Performing Taiwan: Script, Design and Stagecraft, 1943– .
274 CONTRIBUTORS
Tarryn Li-Min C HUN is a PhD candidate in the Department of East Asian Languages and Civilizations at Harvard University. Her disser-tation project explores the interrelation of technology, theatricality, and modernity in twentieth- to twenty-first-century China by analyz-ing transformations in the material conditions of theatrical produc-tion, dramatic composition, and performance practice. Her work has been published in TDR , as well as in the Chinese-language journals Wenxue (Literature) and Xiju yishu (Theatre Arts).
Rossella F ERRARI is senior lecturer in Chinese and Theatre Studies at SOAS, University of London. Her research interests include Chinese-language theatres, inter-Asian theatre networks, and intercultural performance. Her research has appeared in TDR , Postcolonial Studies , positions : asia critique , New Theatre Quarterly , and elsewhere. She is the author of Pop Goes the Avant-Garde : Experimental Theatre in Contemporary China (2012).
Gilbert C. F. F ONG is an acclaimed translator, provost, professor, and dean of the School of Translation of Hang Seng Management College in Hong Kong. Fong translated into English many plays by Gao Xingjian (2000 Nobel Prize in Literature), including The Other Shore and Snow in August . He also translated into Chinese Beckett’s Waiting for Godot , Genet’s Haute Surveillance, and many other plays, all for stage performances in Hong Kong. His recent works include On Drama (with Gao Xingjian, 2010) and Dubbing and Subtitling in a World Context (2009). He was the editor of Hong Kong Drama Review and Journal of Translation .
L I Ruru is professor of Chinese Theatre Studies in the School of Languages, Cultures and Societies, University of Leeds, United Kingdom. She has written extensively on Shakespeare performance in China (including a monograph Shashibiya: Staging Shakespeare in China 2003) and on Chinese theatre (modern/traditional). Her recent works include The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World (2010), Translucent Jade: Li Yuru on Stage and in Life ([in Chinese] 2010), and a photographic exhibition Cao Yu (1910–1996): Pioneer of Modern Chinese Drama (2011– ). Li runs traditional song-dance theatre workshops for both students and theatre professionals because she regards regular contact with the theatre as essential to her academic work.
L IN Wei-yu is assistant professor in the Department of Drama Creation and Application at the National University of Tainan, Taiwan. After
CONTRIBUTORS 275
having received her PhD from the Theatre and Dance Department at the University of Hawai‘i, she taught at the Peking University Theatre Research Institute and the National Academy of Chinese Theatre Arts in Beijing. Her academic interests include Chinese modern theatre, modern application of traditional theatre elements in Asian modern theatre, and Cambodian classical dance-drama.
Siyuan L IU is assistant professor of Theatre at the University of British Columbia, Canada. He is the author of Performing Hybridity in Colonial-Modern China (2013), coauthor of Modern Asian Theatre and Performance 1900–2000 (2014), and coeditor of The Methuen Drama Anthology of Modern Asian Plays (2014). He has published over 20 articles on twentieth-century Chinese theatre and intercul-tural theatre in edited books and peer-reviewed journals. He coedited two “Founders of the Field” series for Asian Theatre Journal .
M A Haili is senior lecturer in Chinese Studies, director of the China Research Centre at the University of Chester, United Kingdom. She was trained to play xiaosheng (young male) roles at Shanghai Luwan District Yueju Company before embarking on an academic path. Her research examines the artistic evolution of traditional/indigenous Chinese song-dance theatre under the contemporary social, political, economic, and media conditions. She is the author of Urban Politics and Cultural Capital, the Case of Chinese Opera (2015).
P U Bo is assistant professor at the Zhejiang University of Media and Communications, China. He has a doctorate from East China Normal University. He is the author of Performance of Space in the Era of Globalization ([in Chinese] 2015). He is also a poet, a writer, and a member of Chinese Writers Association.
Rosemary R OBERTS is senior lecturer in Chinese Studies at the University of Queensland, Australia. She is the author of Maoist Model Theatre: The Semiotics of Gender and Sexuality in the Chinese Cultural Revolution ( 1966–1976 ) and has published widely in the areas of mod-ern Chinese literature, culture, and gender studies. She is also coedi-tor of four volumes of critical works on literary, cultural, and gender studies in China and East Asia. Her current research includes a major collaborative project Making and Remaking China’s Red Classics and a book project on the sociopolitical and aesthetic history of Chinese lianhuanhua (picture story books).
John B. W EINSTEIN is associate professor of Chinese and Asian Studies at Bard College at Simon’s Rock, and principal and dean
276 CONTRIBUTORS
of the Early College at Bard High School Early College—Newark, United States. A scholar who publishes on Republican period main-land theatre and contemporary Taiwan theatre, he served as president of the Association for Asian Performance from 2006 to 2011. He is the editor and cotranslator of Voices of Taiwanese Women: Three Contemporary Plays (2015).
Y ANG Zi is research fellow at Shanghai Art Research Institute, and visiting scholar at University of Chester, United Kingom. She has a PhD from East China Normal University, and her research inter-ests lie in urban studies, theatre, film and visual studies, and cul-tural industries. She has published a number of journal articles on film and theatre studies in China’s leading academic journals and is coauthor of Folklore in Jiangnan ([in Chinese] 2010). Her two new books, Performing Shanghai: Urban Imaginary in Theatrical Space and Differential Accent: Non-State-Run Huaiju Troupes in Shanghai since the 1980s , are forthcoming from Shanghai Renmin Chubanshe.
Absolute Signal, 42, 43, 46, 164, 242
acting, 11, 19, 34, 37–9, 42–9, 69–70, 84, 102, 124–5, 131, 141–4, 151, 169–70, 171, 189–90, 233. See also individual actors
amateur drama. See under huajuArchives of Life, 79–85, 88, 89,
242. See also Meng BingAssociation of Dramatists, National
and Beijing local, 58, 228audiences, 2, 3, 21, 37–9, 41, 43,
46–7, 48–9, 51, 90, 102, 105, 110, 118–19, 125, 141–2, 144, 150–1, 154–5, 157–8, 159–61, 171–2, 188–9, 193–4, 196, 203–4, 235. See also consumerism
avant-garde theatre. See under huaju
Bakhtin, Mikhail, 145, 147–8, 150, 155, 157
Ballad of Yellow Earth, The, 86–9, 242. See also Meng Bing
Beijing Nanluoguxiang Performing Arts Festival, 182, 219, 231. See also Wang Xiang
Beijing People’s Art Theatre, 42–3, 110, 164, 168, 172, 173, 242. See also Cao Yu, Jiao Juyin and Lin Zhaohua
Bourdieu, Pierre, 3, 5, 234Brecht, Bertolt, 13, 44, 79–80, 83,
90
Can Three Make It? Part III—Oh! Three Diverged Paths, 191, 242. See also Li Guoxiu
Cao Yu, 16–36, 80, 110, 198, 243. See also playwriting and Savage Land
Capital Theatre. See also Beijing People’s Art Theatre
Carlson, Marvin, 3Central Academy of Drama, 51,
110, 164, 218–19, 224, 230Central Experimental Theatre, 160,
167–8, 219, 242Chapple, Freda, 129Chekhov, Anton, 38, 47. See also
foreign theatrical influence under huaju
Chen Xinyi, 35–6, 55, 61–2, 65–6, 242. See also directing, Shang Yang
China Youth Art Theatre, 160, 168civilized drama. See under huajucloud-hands, 12. See also jingju and
song-dance theatreconception of theatre, the. See
under huajuconsumerism, 115–21, 134–6,
146–7, 153–5, 159–61, 168–9, 170–2, 179, 182, 205, 219–20, 237. See also commercial theatre under huaju
cultural industry, 138–9, 159–62, 165, 167–72
Cultural Revolution, 13–14, 42, 51, 62, 64, 65–6, 80–1, 88, 115, 186, 235
Index
278 INDEX
dance, 47, 50, 82, 97–9, 100–1, 106–9, 127, 131, 142, 209–10, 240
Deng Xiaoping, 50, 55, 57, 88, 153, 183
directing, 11, 15–16, 18–19, 22–3, 24–34, 43–4, 73–4, 79–80, 83–4, 92, 141–4, 165, 233. See also individual directors
Drama Troupe attached to the Political Department of the PLA, 55, 83, 85, 242, 243. See also Meng Bing
duli (independent). See independent theatre under huaju
economic reforms, 56, 57, 62–3, 65, 77, 78, 86, 116, 138–9, 153, 205, 213, 234, 240. See also Deng Xiaoping, Jiang Zemin and Zhu Rongji
nonprofit cultural institutions into for-profit enterprises, 117, 118–19, 160
Feuer, Jane, 106, 108, 110Field of Life and Death, 164–6,
242. See also Li Dong and Tian Qinxin
Flowers in the Mirror, Moon on the Water, 120, 123–40, 243. See also Meng Jinghui and Xi Chuan
cinematic space, 133–4poetry, 129–32
Gao Xingjian, 42, 164, 242. See also Absolute Signal, Lin Zhaohua and playwriting
gezixi, 195gongfu (Kungfu or martial arts),
120–1. See also Story of the Deer and the Cauldron
Grass Stage, 116, 179–80, 181, 243. See also Zhao Chuan
Grotowski, Jerzy, 13, 38, 44. See also foreign theatrical influence under huaju
Habermas, Jürgen, 227–8He Jiping, 98, 101–6, 110–11, 242.
See also playwriting and Sweet & Sour Hong Kong
He Nian, 141–4, 147–8, 158, 243. See also directing, Shanghai Dramatic Arts Centre, Shanghai Theatre Academy, and Story of the Deer and the Cauldron
Hebei Provincial Spoken Drama Theatre, 243
Hezhu’s New Match, 178–9, 189–90, 195, 201, 242. See also Little Theatre Movement under huaju
Hong Kong, 1–2, 97–100, 101–5, 110Hong Kong Repertory Theatre,
98–9, 111, 242. See also Fredric Mao
Hong Shen, 80, 85. See also directing, origins under huaju and playwriting
huaju (spoken drama/modern Chinese theatre) and its significant topics
amateur drama (aimeiju), 180–1, 183
avant-garde theatre (xianfeng xiju), 42–3, 125–7, 134–9, 161–2, 195 (see also experimental theatre)
civilized drama (wenmingxi), 8classical plays (jingdian jumu),
11–14 (see also Master Builder and Savage Land)
commercial theatre (shangye xiju), 43, 83–4, 116, 180, 182–3, 205, 207
conception of theatre, the (xijuguan), 13–14, 115
INDEX 279
huaju—Continuedexperimental theatre, 42, 120,
125, 135, 178, 189–90, 195, 209, 226, 231, 238 (see also avant-garde theatre)
foreign plays, Chinese performance, 13, 46, 47, 164–5, 198 (see also Master Builder)
foreign theatrical influences, 13, 17, 44, 79–80, 160, 189–91, 200–1, 234 (see also Brecht, Chekhov, Grotowski, Ibsen, Meyerhold, O’Neill, origins under huaju, Schechner, Stanislavski)
historical drama (lishiju), 62, 65–6
independent theatre (duli xiju/duli juchang), 116, 177–83, 185, 189, 198, 213, 239
intermedial stage (duomeiti wutai), 123–40, 207, 234
Little Theatre Movement (xiaojuchang yundong), 2, 178–9, 188–9, 191, 198–200
main melody (zhuxuanlü) theatre, 3–4, 55–9, 61–78, 79–96, 97–111, 115, 118, 183, 236–7, 238 (see also ideology)
mainstream theatre (zhuliu xiju)/state-sponsored theatre (tizhinei juyuantuan), 115, 207, 213, 219, 226, 230 (compare independent theatre and minjian)
minjian (popular), 179, 181, 183, 222, 231
national drama movement (guoju yundong), 11–13, 50–1
origins, 1–2, 4, 5, 12, 38–9, 116, 160, 180, 181, 233, 234–5, 239
peasant drama (nongmin xiju), 180–1
positive and negative characters, 65, 68, 76–7, 78
Sinicizing huaju (huaju minzuhua), 11–14, 39, 45–6, 50–2
socialist realist theatre, 55, 70, 83, 87, 235
Soviet theatre experts in China, 50, 52
symbolic and expressionist techniques, 17–18, 19, 24–34
white-collar theatre (bailing xiju), 119, 141–58
Huang Zuolin, 13. See also conception of theatre under huaju and directing
Ibsen, Henrik, 38, 40, 41, 49, 52, 80. See also foreign theatrical influence under huaju
ideology, 1–2, 3–4, 55–9, 75, 77, 85, 95, 98, 103–6, 108, 109–10, 115–16, 118, 149–50, 153–4, 155–7, 166, 177–8, 204–5, 210–14, 226–8, 232, 235, 236–8. See also Deng Xiaoping, Jiang Zemin, Mao Zedong, Marx, Xi Jinping
Lei Feng, 87–8, 95–6 (see also Meng Bing)
Jiang Zemin, 57–8Jiao Juyin, 13, 14, 51–2. See also
directing and Sinicizing huaju
Jin Shijie, 189–90, 242. See also acting and Hezhu’s New Match
jingju, 13, 51, 115–16, 164, 178–9, 186–7, 189–90, 201. See also song-dance theatre and traditional performance arts
Lan-ling Theatre Workshop, 189–90, 242. See also Jin Shijie, Li Guoxiu and Wu Jingji
280 INDEX
Lao She, 121, 159. See also Yellow Storm
Lehmann, Hans-Thies, 209–10Li Dong, 121, 160, 163–8, 171–3.
See also National Theatre of China, Tian Qinxin
Li Guoxiu, 185–201, 242. See also acting, directing, Ping-Fong Acting Troupe and playwriting
Lin Zhaohua, 37–52, 164, 226, 242. See also directing, experimental theatre under huaju and Master Builder
Lin Zhaohua Theatre Studio, 38, 42, 52, 242
Little Society, The, 177, 203–14, 243. See also Grass Stage and Zhao Chuan
field maneuver (lalian), 210–12theatre of inquisition, 206–12
Little Theatre Movement. See under huaju
Lü Liang, 120. See also Shanghai Dramatic Arts Centre
main melody theatre. See under huaju
Mao, Fredric, 55, 98–103, 242. See also directing and Sweet & Sour Hong Kong
Mao Zedong, 57, 62, 64, 73, 77–8, 88–9, 91, 94–5, 153–4, 237, 239. See also ideology
Marx, Karl, 13, 56, 153, 158, 204, 212. See also ideology
Master Builder, The, 37–52, 242. See also Lin Zhaohua and Yi Liming
Meng Bing, 55, 58, 79–96, 242, 243. See also main melody under huaju and playwriting
Meng Bing Phenomenon, 85–6Meng Jinghui, 120, 123–40, 164,
171, 172, 173, 243. See also directing and Flowers in the Mirror, Moon on the Water
Meng Jinghui Studio, 124, 222, 243
Meyerhold, Vsevolod, 14, 38, 44, 132–3. See also foreign theatrical influence under huaju
minjian (popular). See under huajumultimedia. See intermedial stage
under huajumusic, 15, 18, 61–2, 73–4, 79,
97–9, 100–1, 208, 215musical or musical theatre
(yinyueju), 2–3, 55, 97–111
National Academy of Chinese Theatre Arts, 216
national drama movement. See under huaju
National Theatre of China, 118, 159–61, 168, 170–2, 219, 243. See also Li Dong, Meng Jinghui and Tian Qinxin
Ning Caishen, 141, 149, 151, 154, 156, 157, 243. See also He Nian, playwriting and Story of the Deer and the Cauldron
O’Neill, Eugene, 17. See also foreign theatrical influence under huaju
Ouyang Yuqian, 1, 95. See also acting and civilized drama under huaju
peasant drama. See under huajuPeking Opera: The Revelation,
178–9, 185–201. See also Li Guoxiu and Taiwan
memory, 196–8multi-role acting technique,
191–5Penghao Theatre, 116, 179,
181–2, 215, 217–18, 221–3, 225–6, 228–30, 243. See also independent theatre under huaju and Wang Xiang
INDEX 281
Ping-Fong Acting Troupe, 185, 188–201, 242. See also Li Guoxiu and Taiwan
pingtan, 45, 46. See also storytelling/balladry and traditional performance arts
playwriting, 16–19, 32–4, 35, 37–9, 40, 41, 61–2, 73–4, 82–3, 87–8, 90–2, 97, 149, 151, 154, 200–1, 233, 236. See also individual playwrights
Poly Theatre, 163, 173popularization (dazhonghua), 180.
See also minjian and peasant drama under huaju
Pu Cunxin, 37, 41–2, 47. See also acting and Lin Zhaohua
puppetry, 44–5, 141–2, 144–5. See also He Nian, Lin Zhaohua, and traditional performance arts
Savage Land, The, 5, 11, 15–36, 243. See also Cao Yu and Wang Yansong
directed by Cao Yu, 18directed by Chen Xinyi, 35directed by Li Liuyi, 35–6
Schechner, Richard, 34. See also foreign theatrical influence under huaju
Searching for Li Dazhao, 89–92, 243. See also Meng Bing
self-introduction technique. See also jingju and song-dance theatre
Shamlet, 192, 195. See also Li Guoxiu
Shang Yang, 6, 58, 61–78, 242. See also Chen Xinyi and Yao Yuan
Confucianism, 64, 71–2, 77, 78historical interpretation of Shang
Yang, 62, 63–4, 66–7, 71Shanghai Dramatic Arts Centre,
117–21, 141, 143–4, 146–7, 154–5, 158, 242, 243. See
also Chen Xinyi, He Nian, Lü Liang and Yu, Nick Rongjun
Shanghai Theatre Academy, 121, 235
Sinicizing huaju. See under huajusong-dance theatre/traditional/
indigenous Chinese theatre/traditional opera. See xiqu
Soul of the Republic, 92–5. See also Meng Bing
sound, 21–2, 41, 62, 66–7, 68, 79, 94, 123, 128, 129, 133, 148, 236
stage design, 18, 22–3, 24–5, 35, 37, 41, 47, 61–2, 66–9, 73–4, 79, 89, 97, 106, 123–5, 127–8, 133, 148, 163–4, 187, 190, 203–4, 215, 233, 236. See also individual designers
Stanislavski, Constantin, 11, 14, 38, 39–40, 41, 43–4, 50–2, 83–4, 144. See also foreign theatrical influence, Soviet theatre experts under huaju
Story of Gong and Drum Lane, The, 177, 182, 215–32, 243. See also Wang Shaojun and Wang Xiang
Story of the Deer and the Cauldron, The, 117–18, 120–1, 141–58, 243. See also He Nian and Ning Caishen
knight-errant (wuxia), 155–6storytelling/balladry (quyi), 11,
43, 45. See also pingtan and traditional performance arts
Sweet & Sour Hong Kong, 58, 97–111, 242. See also Fredric Mao and He Jiping
lyrics, 102, 104Szondi, Peter, 49
Taiwan, 1, 2, 159, 177–8, 185–201Teahouse, 163–4, 173. See also
Beijing People’s Art Theatre, Jiao Juyin and Lin Zhaohua
282 INDEX
theatre management, 115–16, 146–7, 165–6, 168–9, 171–2, 177–8, 182, 205, 218–19, 233. See also individual producers
Theatre Reform (xigai), 115, 117Thunderstorm, 16, 35, 198. See also
Cao Yu, classical plays under huaju and Wang Yansong
Tian Qinxin, 115, 121, 137, 159–60, 163–73, 242, 243. See also directing, Li Dong, playwriting and Yellow Storm
Tianjin People’s Art Theatre, 16, 243. See also Wang Yansong
traditional performance arts, 44, 164, 195. See also jingju, pingtan, song-dance theatre (xiqu), storytelling/balladry (quyi)
Wagner, Rudolf G., 74Wang Shaojun, 215, 216, 243. See
also directing, playwriting and Story of Gong and Drum Lane
Wang Xiang, 179, 181–2, 216–32, 243. See also Penghao Theatre and Story of Gong and Drum Lane
Wang Yansong, 5, 11, 14, 16–35, 243. See also directing and Savage Land
We Are One Family, 98, 103, 108, 242. See also Sweet & Sour Hong Kong
white-collar theatre. See under huaju
Wu Jingji, 189. See also Hezhu’s New Match
wutaiju (stage play), 2–3, 178–9, 186, 195, 201. See also huaju and Taiwan
Xi Chuan, 123, 128–9, 130, 132, 139, 243. See also Flowers in the Mirror, Moon on the Water
Xi Jinping, 58–9, 236–7Xiong Foxi, 180–1. See also origins,
peasant drama under huajuxiqu (traditional song-dance
theatre/traditional Chinese theatre/traditional opera), 1, 7, 11–12, 13–14, 77, 116–17, 181, 43–4, 45–7, 49–50, 67–8, 79–80, 189–90. See also jingju
yangbanxi (model theatre), 69, 186, 195. See also Cultural Revolution and jingju
Yao Yuan, 61–2, 64, 242. See also playwriting and Shang Yang
Yellow Storm, The, 121, 159–73, 243. See also Li Dong and Tian Qinxin
original novel, 163–4Yi Liming, 37–8, 40, 242. See
also Master Builder and stage design
Yin Zhusheng, 69. See also actingYu, Nick Rongjun, 8, 146–7, 158.
See also Shanghai Dramatic Arts Centre
Yu Shangyuan, 13. See also national drama movement under huaju
Zhao Chuan, 179–80, 205–14, 243. See also Grass Stage
Zhou Enlai, 64, 237Zhu Rongji, 62, 65, 71. See also
Shang Yang