Chronology Entries
| # | Year | Text |
|---|---|---|
| 1 | 1994 |
Aufführung von Henry IV von William Shakespeare in der Übersetzung von Zhu Shenghao und dem Drehbuch von Wu Xiaojun durch die Shanghai xi ju xue yuan (Shanghai Theatre Academy) unter der Regie von Su Leci.
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| 2 | 1994 |
Aufführung von The merchant of Venice von William Shakespeare in der Übersetzung von Zhu Shenghao durch das Shanghai er tong yi shu ju yuan (Shanghai Children's Art Theatre) unter der Regie von Kang Ansheng.
Kang Ansheng schreibt in den 'program notes' : "We sincerely hope, that in The merchant of Venice all the benevolence and beauty in human life will be loved and cherished by people and will further develop while everything malevolent and ugly will be censured and brought to an end." |
| 3 | 1994 |
Aufführung von The merchant of Venice von William Shakespeare durch den Fudan University Theatre Club unter der Regie von Geng Baosheng.
Li Ruru : The Fudan production had a narrator, who not only brought the selected scenes into an integrated play but also made comments from time to time that enlightened the audience about various interpretations of the play as well as the character of Shylock. |
| 4 | 1994 |
Aufführung von Othello von William Shakespeare in der Adaptation von Li Rong durch die Shanghai ren min yi shu ju yuan (Shanghai People's Art Theatre) unter der Regie von Lei Guohua und Bühnenbildner Wang Jun.
Li Ruru : The mise-en-scène of the production appears to have been strongly influenced by the 1956 Soviet film version of Othello, directed by Sergei Yutkevich with Sergei Bondarchuk. The production was an attempt to discuss concepts of 'justice and injustice' and 'fairness and unfairness' that Chinese people had not faced since 1949, when the People's Republic of China was founded. Under the Communist regime 'justice' was defined by the revolutionary cause and was limited to the fight between revolutionary and counterrevolutionary. Thus most people never thought they should question what justice was, and those who wanted to do so were either too frightened or, having the courage to speak, were quickly silenced by means of persecution. |
| 5 | 1994 |
Aufführung von Wang zi fu chou ji = [The prince revenge] = 王 子复仇记 = Yue ju Adaptation von Hamlet von William Shakespeare durch die Shanghai xi ju xue ju yuan (Shanghai Theatre Academy) nach dem Drehbuch von Xue Yunhuang unter der Regie von Su Leci, Wu Xiaolou und Liu Jue ; mit Zhao Zhigang als Halmet und Lei Liya als Ophelia.
Li Ruru : The yue yu Hamlet was a fully sinicized adaptation transposing the original work into an entirely Chinese setting with Chinese characters. |
| 6 | 1994 |
Aufführung von Troilus and Cressida (Western opera style) von William Shakespeare in der Adaptation von Sheng Zhengjun (Lyrik) und Xu Jianqiang (Komponist) durch das Harbin ge ju yuan (Harbin Opera House) unter der Regie von Guo Xiaonan und Wang Yongji und dem Bühnenbildner Zhao Jinsong.
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| 7 | 1994 |
Aufführung von King Lear von William Shakespeare in der Übersetzung von Dai Xiaotong durch die Shijiazhuang si xian xi ju tuan (Shijiazhuang si xian xi Company) unter der Regie von Hu Dao.
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| 8 | 1994 |
Aufführung von Twelfth night von William Shakespeare durch das Salisbury Playhouse und das Royal Lyceum of Edinburgh in Shanghai.
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| 9 | 1994 |
Aufführung von Macbeth von William Shakespeare durch das Workshop Theatre der Leeds University unter der Regie von David Jiang in Shanghai.
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| 10 | 1994 |
Aufführung von Romeo and Juliet in Deutsch durch das Youth Theatre Nürnberg in Shanghai.
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| 11 | 1994 |
Radio Sendung von A midsummer night's dream und All's well that ends well von William Shakespeare in China.
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| 12 | 1994 |
Seminar über die Forschung über existentialistische Literatur in Xi'an.
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| 13 | 1994 |
Michel Butor reist mit Danièle Sallenave einige Tage nach Beijing um chinesische Schriftsteller zu treffen.
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| 14 | 1994 |
Aufführung von Der Besuch der alten Dame = The visit = Si shi gu ren lai von Friedrich Dürrenmatt durch das Hong Kong Repertory Theatre in der Übersetzung von Patrick Luk = Lu Huacheng und unter der Regie von Ho Wai Lung = He Weilong.
似是故人來 |
| 15 | 1994 |
Aufführung von Major Barbara von George Bernard Shaw im Hong Kong Repertory Theatre in der Übersetzung und unter der Regie von Ying Ruocheng, mit Lo Koon-lan als Lady Britomart.
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| 16 | 1994 |
Letter from Xiao Qian to James Joyce ; 2 June 1994.
"I had never dreamed that I would be translating Ulysses". |
| 17 | 1994 |
Kenneth M. Price : Interview with Zhao Luorui.
Zhao, Luorui : I think the Chinese people, even the government, always considered Walt Whitman a democrat and a very good friend of the common people. T.S. Eliot was easier to translate, he could be done literally, word by word. It was not extremely difficult to translate The waste land. And I did some of Henry James's novellas, and I found them more difficult than Eliot – the sentences are so involved. But I found Whitman the most difficult. I had to know the man before I could translate him I didn't need to know Eliot to translate his poetry. But I did need to know Whitman as man – his habits of thought, his background, his idiosyncracies even – in order to be able to translate him. |
| 18 | 1994 |
Letter from Xiao Qian to Patricia Laurence ; 2 June 1994.
In the late 40s, I came back to a China deep in civil war and I had to earn a living both working as professor at a university and a leader writer for the liberal newspaper Ta kung pao [Da gong bao]. After 49, especially in the 50-60s, even Jane Eyre and Jean Christophe were condemned as 'poisonous'. To translate [Virginia] Woolf was unthinkable. |
| 19 | 1994 |
Bellow, Saul. Conversations with Saul Bellow.
http://books.google.ch/books?id=Daj1jRNVx0sC&pg=PA37&lpg=PA37&dq=saul+bellow+in+china&source=bl&ots=MDCM4D8i-m&sig=AK6uSsDDeaN0CPqLeZXBbuiw2gQ&hl=de&sa=X&ei=oLK3U5aPB6el0wW_6IFQ&ved=0CHkQ6AEwDTgK#v=onepage&q= china&f=false. To think of oneself as a Nobel Prize winter is finally to think of oneself as an enameled figurine in a China cabinet, and I don’t intend to find myself in a China cabinet. |
| 20 | 1994 |
Higgins, Jack. On dangerous ground. (New York, N.Y. : G.P. Putnam's sons, 1994).
As 1997 approaches, England's prime minister learns of a secret document signed by Mao Tse-tung that could delay the Chinese takeover of Hong Kong for an additional 100 years. The British hire former terrorist Sean Dillon to keep the document from coming to light, before parties in Hong Kong retrieve it and destroy the balance of world power. |