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Backstaging Modern Chinese Theatre
Modern Chinese theatre once entailed a variety of forms, but now it primarily refers to spoken drama, or huaju. Backstaging Modern Chinese Theatre looks beyond scripts to examine visuality, acoustics, and performance between the two World Wars, the period when huaju gained canonical status. The backstage in this study expands from being a physical place offstage to a culturally and historically constructed social network that encompasses theatre networks, academies, and government institutions—as well as the collective work of dramatists, amateurs, and cultural entrepreneurs. Early huaju was not a mere imitation of Western realist theatre, as it is commonly understood, but a creative synthesis of Chinese and Western aesthetics. Charting huaju’s evolution from American colleges to China’s coastal cities and then to its rural hinterland, Man He demonstrates how the formation of modern Chinese theatre challenges dominant understandings of modernism and brings China to the center of discussions on transnational modernities and world theatres.
Modern China and the West
In Modern China and the West: Translation and Cultural Mediation, the authors investigate the significant role translation plays in the act of cultural mediation. They pay attention to transnational organizations that bring about cross-cultural interactions as well as regulating authorities, in the form of both nation-states and ideologies, which dictate what, and even how, to translate. Under such circumstances, is there room for individual translators or mediators to exercise their free will? To what extent are they allowed to do so? The authors see translation as a "shaping force." While intending to shape, or reshape, certain concepts through the translating act, translators and cultural actors need to negotiate among multifarious institutional powers that coexist, including traditional and foreign. Contributors include: Françoise Kreissler, Angel Pino, Shan Te-hsing, Nicolai Volland, Joyce C. H. Liu, Huang Ko-wu, Isabelle Rabut, Xiaomei Chen, Zhang Yinde, Peng Hsiao-yen, Sebastian Hsien-hao Liao, and Pin-chia Feng.
Performing the Socialist State
Performing the Socialist State offers an innovative account of the origins, evolution, and legacies of key trends in twentieth-century Chinese theater. Instead of seeing the Republican, high socialist, and postsocialist periods as radically distinct, it identifies key continuities in theatrical practices and shared aspirations for the social role and artistic achievements of performance across eras. Xiaomei Chen focuses on the long and remarkable careers of three founders of modern Chinese theater and film, Tian Han, Hong Shen, and Ouyang Yuqian, and their legacy, which helped shape theater cultures into the twenty-first century. They introduced Western plays and theories, adapted traditiona...
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