Chronology Entries
| # | Year | Text |
|---|---|---|
| 1 | 1989- |
Richard Vinograd ist Professor in Asian Art des Department of Art & Art History der Stanford University. Vorher hat er an der Columbia University und an der University of Southern California unterrichtet.
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| 2 | 1989- |
Philip West ist Mansfield Professor of Modern Asian Affairs der University of Montana, Missoula.
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| 3 | 1989-1996 |
Michael Aris ist Research Fellow des St. Antony's College, Oxford.
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| 4 | 1989-2001 |
Giorgio Borsa ist Direktor der Asia major.
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| 5 | 1989 |
Gründung des Wuhan Shakespeare Center. Yuan Kun wird Präsident.
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| 6 | 1989 |
Aufführung von Hamlet von William Shakespeare in der Übersetzung von Li Jianming durch das Beijing ren min yi shu ju yuan (Beijing People's Art Theatre) unter der Regie von Lin Zhaohua und Ren Ming.
Lin Zhaohua schreibt 1994 in seinen Program notes : "Hamlet is one of us. In the street, we may pass him without knowing who he is. The thoughts that torture him also torture us everyday. The choice he needs to make is also the one we face every day. 'To be or not to be' is a question of philosophy, but is also a concrete matter, big or small, in our everyday life. 'To be or not to be' : you can choose only one of these alternatives." Er sagt in einem Interview 1997 : "I was always hoping to put Hamlet on the stage ; I liked the loneliness of Hamlet. Moreover, during that period, people lost their vitality completely. Everybody now wanted to make money or to win prizes or lotteries. Only those who can think feel lonely. The lonely Chinese Hamlet was neither a prince who seeks revenge for the sake of justice nor a hero of humanism. What we are facing is ourselves. To face oneself is the most active and braves attitude modern people can possibly assume." Li Ruru : Deeply depressed by the consequences of the June 1989 student demonstration in Tiananmen Square, Lin Zhaohua channeled his reflections on those tragic events and the realities they exposed about contemporary China into an experimental production of Hamlet which he presented in Beijing later that year. Lin's Hamlet was not a Renaissance giant with the sublime mission of rescuing his country and his people from a feudal tyrant. There were no longer heroes or villains in the play, just ordinary Beijing people in the late-twentieth century. |
| 7 | 1989 |
Zhang, Fa. Zhongguo wen hua yu bei ju yi shi [ID D24000].
Er schreibt über Hamlet von William Shakespeare : "Hamlet intends to clarify the truth of his father's death. Yet he demonstrages his own weakness when he undertakes the task to avenge his father. He also realizes the contradiction between his duty for vengeance and his character and is baffled by the attitude of man toward this reversed world. All of these factors bring about his destruction the tragic protagonist clearly exhibits a complex ability to trandscend the simple division of good and evil, to transcend the provisional social institution or even to transcend culture itself. The presentation of the faithful ministers who fight with treacherous ministers has been based on the qualities of stability, patience, and preservation of Chinese culture. It aims to neither thoroughly examine the existing social system and ideology nor show a transcending spirit through the complexity of the protagonist. It is designed mainly to sacramentalize the existing system and ideology and to portray the characters by the simple division of good and evil. One cannot say that the classical Chinese playwrights do not see the serious problem in reality. But they always tend to reassure themselves and the people with conventionally political ideas and the strong rationalism of Chinese culture." |
| 8 | 1989 |
Aufführung von Richard III. von William Shakespeare in der Übersetzung von Zhu Shenghao durch die Shanghai xi ju xue yuan (Shanghai Theatre Academy) unter der Regie von Peng Liqi.
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| 9 | 1989 |
Aufführung von The merchant of Venice von William Shakespeare in der Übersetzung von Fang Ping durch die Shanghai xi ju xue yuan (Shanghai Theatre Academy) unter der Regie von Zhang Zhenmin und Jiang Wenqiu.
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| 10 | 1989 |
Aufführung von Qi zhai qing yuan (Anhui lu ju) = A strange debt and fated marriage = Adaptation von The merchant of Venice von William Shakespeare durch die Hefei shi lu ju tuan (Hefei City Lu ju Company). [Keine Angabe von Übersetzer und Regisseur].
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| 11 | 1989 |
Film : Jia ru wo shi zhen de = 假如我是真的 [If I were for real] unter der Regie von Wang Tong und dem Drehbuch von Zhang Yongxiang nach Gogol, Nikolai Vasil'evich. Revizor : komediia v piati dieistviiakh. (Sankt Petersburg : Tip. A. Pliushara, 1836).
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| 12 | 1989 |
Chen, Zhanyuan. Bali de hui yi yu gan xiang [ID D24224].
Er schreibt : "Dans les années 1920, les grands maîtres comme Claudel, Gide, Proust et Valéry étaient à l'apogée de leur gloire. Et de jeunes écrivains, par exemple, Mauriac, Colette, Breton, Aragon et Malraux pour n'en citer que quelques-uns, se faisaient remarquer. Le monde littéraire parisien très florissant a attiré donc les écrivains, artistes, chercheurs connus et inconnus, et les jeunes dilettantes de toutes les parts. Dans le Quartier latin, on les voyait dans les cafés, dans le célèbre Jardin de Luxembourg et à la Sorbonne. Ils discutaient les questions concernant la littérature, la philosophie, l'art, etc. avec leurs compatriotes. Ils se familiarisaient avec les oeuvres de Montaigne, J.-J. Rousseau, Stendhal, Flaubert, Mallarmé, Bergson, Gide, Proust et Valéry, ainsi que celles de Nietzsche, Dostoïevski, Rilke, Joyce, Woolf, T.S. Eliot, Faulkner, etc. Quant au théâtre, les pièces de Shakespeare, Racine, Molière, Ibsen, Tchekhov, Strindberg, Shaw, Claudel, Pirandello et Giraudoux étaient mises en scènes en même temps." |
| 13 | 1989 |
Luo, Dagang. Ba xun lao ren shu huai [ID D24281].
Er schreibt : « Après avoir lu d'abord la récente oeuvre de Jean-Paul Sartre La putain respectueuse, j'ai trouvé son roman La nausée publié en 1938. Comment la nausée et la dépression que le héros du roman éprouve sur la société et la vie absurdes m'étaient familières ! N'est-ce pas c'étaient justement mes sentiments à l'âge de 17 et 18 ans (1927-1928) ? Poussé par un fort dégoût du monde, je n'arrivais presque pas à empêcher mon désir de me jeter dans le lac de l'Ouest (Xi hu) de Hangzhou. Je trouvais donc que ce n'était pas moi seul qui avais vécu cet état spirituel. » |
| 14 | 1989 |
Marián Gálik ist Advisory Professor der East China Normal University = Hua dong shi fan da xue, in Shanghai.
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| 15 | 1989 |
Zhang, Yong. Duwei jiao yu li lun zhong de bian zheng fa [ID D28694].
Zhang concurs with Shi Weiping and concludes that John Dewey has a strong focus on the society in his discussion on creating a balance between individual growth and social development in the educational process. Zhang further quotes from Dewey's lectures in China, which offered explicit warning to Chinese educators against education without a purpose. Zhang observes that Dewey dialectically and appropriately handled the relationship between the child, the teaching materials, and the curriculum, and this is a significant contribution to education : "If we say that Marx creatively applied dialects to the study of political, social and economic issues, we have to admit that Dewey's contribution is as great as Marx's when he applied dialectics to the study of educational problems". |
| 16 | 1989 |
Performance of The great god Brown by Eugene O'Neill under the direction of Mou Sen and his Qing wa shi yan ju tuan (Frog Experimental Troupe) in Beijing. Mou Sen turned the play into a not necessarily perfect but definitely formal and solemn ritual : "Its masks failed to reveal the characters' profound fear and helplessness while they juggled their souls. Neither did the production achieve a better integration of its slow rhythm, simple mise en scène and conscious alienation effect. Yet in the blue light that immersed the stage, caught by Margaret's largo monologue and the tragic aura pervading the theater, the audience could still arrive at a touching moment of sublimation in the end."
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| 17 | 1989 |
Performance of Xu Fen. Yu hai kuang chao. [The raging tide in the sea of desire]. Adaptation of Desire under the elms by Eugene O'Neill. By the Chengdu Chuan ju Company, under the direction of Li Zenglin, Tian Huiwen and Hu Chengde in Chengdu 1989. Liu Ping as Abbie
欲海狂潮 Xu Fen sets the key for her adaptation : a dualistic view of desire and its role in our spiritual and emotional life. She replaces O'Neill's puritan New England family with a Chinese household from some unidentified ancient feudal era, a sensible transplantation considering the rigid asceticism, strict morality and pragmatic concern for worldly life that American puritanism shares with Chinese Confucianism. |
| 18 | 1989 |
Liang, Shiqiu. Liang Shiqiu wen xue hui yi lu. Chen Zishan bian. (Changsha : Yue lu shu she, 1989). (Feng huang cong shu).
梁实秋文学回忆录 Liang Shiqiu schreibt im Vorwort : "I have been greatly influenced by Irving Babbitt. He led me to the road of harmony and prudence". |
| 19 | 1989 |
Death of Hai Zi. He was lying on the path of a train near Shanhaiguan and with him a bag with a Bible, Walden by Henry David Thoreau and a book of selected stories by Joseph Conrad.
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| 20 | 1989 |
Kingston, Maxine Hong. Tripmaster monkey [ID D29876].
Ezra Greenspan : Kingston's lead character is a 1960s era Chinese American poet-playwright named Wittman Ah Sing, born and raised in San Francisco Chinatown and educated at Berkeley who attempts to put on stage his Chinese American version of his self. Kingston concocts a Chinese-inflected, English-centered discourse fit to express Wittman's hybrid experience – altogether, a language experiment, in its way, as rich and American as Walt Whitman's own. James T.F. Tanner : Several chapter are based on Whitmanian material from Leaves of grass, especially Song of myself – appropriate because Kingston, like Whitman, is concerned with the construction of two entities, the self and the community, the requirement in a democratic society that the individual have proper scope for development and that the community have means for furthering social goals. |