China and the West

Young, Stark.Mei Lan-fang. In : The New Republic ; March 5 (1930).
Mei Lan-fang and his Company, in Reportory. Forty-ninth Street Theater, February 17, 1930.
We know how much is, ordinarily, seen in the arts—very little indeed by the average eye; and how much rubbish is talked, rubbish that is somewhat insincere, faddish, imitative, or else fetched up from sentiments within the speaker and not from any perception of the work of art. How much more chance, then, a review of Mei Lan-fang has of being oblique, bluffing or fatuous ! In his case more than in most, a criticism is apt to be here autobiography on the critic's part.
In an art that belongs within the tradition of an old race, and in the presence of an artist considered by them a great artist, a good part of our attendance must be taken up with humility. I spent a fair part of my time, during this performance of the Chinese company, trying merely to learn, as one learns a language. We see what we can, and must be thankful for what perception is granted us. In this performance of Mei Lan-fang I saw enough to see that for me it was the highest point in the season’s theater and in any season since Duse's visit and the Moscow Art Theater's production of Chekhov's plays.
As to the Chinese theater, we perceive in the first place that it is an art based on music, or at least musically seen, and is a complete art consisting of music, speech and dancing in the full sense, which includes dance movement, gymnastics, pantomime and gesture. Most of the music was lost on me, of course, with its foreign scale and intention but I was surprised to find how much of it takes on meaning for an outsider and how often the themes are easily distinguishable. But most of all I was struck by the mingling of music and action that I saw on the stage, the admirable accentuation of gesture by music, the way in which the music gave the tempo to the acting; and by the security of an effect achieved through such delicate means. I could tell, however foreign the music, or rather his tone, by a curious brightness and metal, that Mei Lan-fang's voice was unusual, and that the poetic wholeness of his are arose from an astonishing unity of time, tone, emotional rhythm and bodily control.
This Chinese art is, in the second place, stiffened and syllabled with conventions; some of which are familiar to us and thought of largely with naive, indulgent humor, but many of which, not known at all, underlie, like an alphabet, the entire theatrical occasion. The masks of these faces, painted with black predominating where fierce¬ness is to be symbolized, with blue for cruelty, red for the heroic, and so on; the stage properties, where moving a chair may imply another apartment, through whose imaginary door you bend to pass; the duster of horse hair, denoting the divine, the heroic, the holy; the whip standing for the horse; the usages for the sleeve; the use of the eyes, hands; the prologue on the actor's entrance, the couplet following; there are these and numberless other conventional symbols. Foreigners seize on them for harmless discussions—the easiest way out of so far-off an art, and we can read of them in the voluminous notes supplied by George Kin Leung for the brochure of information that is given out with the programs. We cannot dwell upon them here, but is interesting to consider their relation to us. There is one element to them, the visual, that we can take for the esthetic qualities obviously present. The other element in them—whether we know their implications or not— is the symbolistic. When purely symbolistic, these conventions represent—without reproducing—ideas, actions, things, exactly as words do, which in themselves are nothing but sound. There is this difference, however, between these symbols and words: a movement or object symbolizing a beautiful idea, personage, place, tends to be created into something in itself more beautiful and worthy of the association, whereas a word remains the same, plus perhaps our efforts to put beauty into its employment. These conventions in themselves have doubtless, therefore, taken on a greater and greater perfection.
It is interesting, also, to note the Greek and Elizabethan parallels in this Chinese theater, the obvious and slighter Elizabethan ones, mostly theater mechanics, the more profound Greek characteristics. One of these Greek similarities consists of the scenes, developed over and over again and falling into types, the Parting Scenes, Recognition Scenes, Ironic Scenes, and so on. The other is the method, practised always by the Greeks—a method that is based on our physical nature—we rise to song with an access of vitality—and that has always seemed to me inevitable in the highest development of the theater—I mean the rising into music where the pitch of the dramatic idea and emotion seems to require it.
It is interesting to note the antiquity of this Chinese theater, going back almost thirty centuries perhaps, the continuity and innovations in its history, its deep relation to the Chinese soul, the innovations and inventions that are credited to Mei Lan-fang; and to note the fact that the Chinese see these plays from time to time throughout their lives, which means listening to and learning a perfection, —something like great music heard many times, always different, always the same—which is one of the signs of excellence in any work of art, and of sophistication rather than semi-barbarism in a theater public.
Of Mei Lan-fang himself, such facts as that he is the greatest actor in China, a public idol, with the highest honors, 'The Foremost of the Pear Orchard' and the head of the Ching-Chung Monastery, that he was an accomplished musician at seven, a success in feminine roles at twelve, and that his house, collections and position in Chinese culture today are known over China—these things we can read in a hundred places.
Taking him—in the way an actor as a dramatic medium must be taken—as we take a musical instrument or the pigment for a painter, we see that Mei Lan-fang is of medium height, slender, with sure, close-knit muscles, small, supple wrists, superb support in the waist—from which the fine movements and gestures of the torso proceed—a remarkable control of the neck, and perfect poise and sus¬pension in the ankles. His face is the classic Chinese oval, with highly expressive eyes. His make-up, that overlay of carmines and darker tones, is the most beautiful I have ever seen in the theater. The diction is sharp and always pointed. The famous hands are curiously like those in Botticelli, Simone Martini and other painters of the fifteenth century. They are rather tense in form, with long fingers, squarish-tipped; not so much our ideal of the hand, which is based on the sixteenth century of Rubens and Van Dyke, but incredibly trained in the conventions and dance of the Chinese actor's art. And even with ho knowl-edge of that art, you can see with what perfection he begins his speech, prolongs the word that gives the musicians the cue to begin, retards the words by which the music is warned to stop.
For our purposes, however, it seems to me that all this is unimportant compared to one point that bears on all art basically. I mean the relation of the art of Mei Lan-fang —the greatest in his field—to reality. That question of the relation of art to reality is the greatest of all questions with regard to art. It parallels—to employ the terms closest to us humanly—the relation of the spirit to the body, or, to invert the two terms, of the passing to the permanent, the casual in the moment to the flower of it.
On this subject much has been written about Chinese art and about this actor that is misleading. We will stick to Mei Lan-fang. About this actor we are told to note his impersonation of women and his impersonation of various emotions. Words are weak and dependent things, and nothing could be more confusing than these are likely to be. In the first place, there is no attempt to impersonate a woman. The female roles are the most important in the Chinese theater; and he, in the kind of female role that he presents, strives only to convey the essence of the female quality, with all its grace, depth of feeling, its rhythm of tenderness and force. This distillation of the material he employs into its inherent and ideal qualities, Mei Lan-fang does with an economy both brilliant and secure, a studious care, delicacy and inner music. The impression is one of a perfection, at once fragile and secure, that is astonishing.
But even more important—the Chinese critics have already often warned us about the female roles—even more important for us is the matter of his realism in general. I found myself most impressed in this regard during the piece from the Ming Dynasty, where the princess stabs the general who had destroyed her family, and then kills herself with his sword. This seemed to me more satisfying than the play about the husband's return, for in the last it was easy to see the movement away from the older, high style. What we must say about the realism and abstraction and stylization of Mei Lan-fang’s art is that, exactly as is the case in the classic Chinese art, we are astonished at the precision of its realistic notations and renderings, and are dazzled by the place these take in the highly stylized and removed whole that the work of art becomes. These movements of Mei Lan-fang, that way he has of keeping the whole body alive, even in the stillest moments of the action, of putting that continuous movement or vibration into the head as it springs from the neck; that voice that in its sheer tone moves away from actuality; that sophisticated, poetic use of the eyes, those expressions of fear, pity, murderous resolution, despair, and so on, that come over' his face; none of these is impersonation or reality in the usual sense. They are real only in the sense that great sculptures or paintings are real, through their motion in repose, their impression of shock, brief duration and beautiful finality. Every now and then—very rarely—in acting we see this happen: I mean a final creation, free from merely incidental matter, of an essential quality in some emotion, the presentation of that truth which confirms and enlarges our sense of reality. But I have never seen it so securely and repeatedly achieved as in Mei Lan-fang.

Harold R. Isaacs ist als Journalist und Herausgeber der China press in Beijing.

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Maugha, W. Somerset. The gentleman in the parlour. (London : W. Heinemann, 1930).
"I travel because I like to move from place to place. I enjoy the sense of freedom it gives me, it pleases me to be rid of ties, responsibilities, duties. I like the unknown… I am often tired of myself and I have a ntion that by travel I can add to my personality and so change myself a little. I do not bring bak from a journey quite the same self that I took."
Du Chunmei : The travels and writings did provide an escape from Maugham's then troubled relationship with his wife and family life, as well as ways to speak the unspeakable about his personal struggles and deep frustrations because of his homosexuality.

John Donne and China : general
Yan Kui : Donne was briefly introduced in the 1930s, his entrance into China's academic world had to wait until the 1980s. Most of the publications in the 1980s were introductory in nature, they were all instructive and authentic. When the Chinese scholars began their study of Donne, they found themselves stuck in two traditions : modern Western theories and traditional Chinese training. One of the results of Donne studies in the 1990s was an increase of the perspectives from which to investiage Donne's works. The most original was comparatist studies, which were to develop right into the new century. Insofar as Donne was concerned, the basic trends of such studies were to compare him with either a Chinese poet or an English poet. The most significant studies were by Zhang Xuechun from 1995 to 1998. Besides comparative study, other integral contributions to Donne studies in China include thematic, textual, and theoretical inquiries. Most Chinese scholars choose to be part of the mainstream, though they differ in the ways they conduct their research. Some of them focus on individual ideas, some on a given genre, and some on a chosen poem. Donne studies quickly developed to be one of China's top academic priorities in the field of English literature. A most significant aspect os this interest is evinced in the change of textbooks. An other development that confirms the growth of Donne studies in China is serial studies. After 2000, critical evaluations of Donne expanded to include not only studies of more of his poems but also relevant criticisms of his poems. Compared with earlier studies, these evaluations were more scholarly and more responsive to the schools and approaches of Donne studies in the West. There is a lack of translation of Donne's complete works into Chinese, the absence of conversation among Donne scholars and the difficulties of getting acess to recent publications from outside China.

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Gründung des Institute of Oriental Studies of the Russian Academy of Sciences in St. Petersburg.

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Yuan, Muzhi. Yan ju man tan. (Shanghai : Xian dai shu ju, 1933). 演劇漫談
Beschreibung der Aufführung von Uncle Vania von Anton Pavlovich Chekhov in China.
Yuan Muzhi recalled his preparations for the role of Uncle Vania in 1930. Believing he would have to play a Russian peasant. Having never seen a Russian peasant, he naturally had no idea how they looked, dressed or behaved. Yuan then came up with an original solution : for the three months that the Xinyou theatre troupe rehearsed Uncle Vania, he spent his weekends dining at a Shanghai Russian restaurant and observing its patrons—members of the city's emigre community.

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Ba Jin schreibt : This is my favourite book and the book that has had the greatest influence on my intellectual development.

[Artsybashev, Mikhail Petrovich]. Shaning. Zheng Zhenduo yi. [ID D14895].
Introduction by Zheng Zhenduo : Why should Sanin be translated and read in China ? 'Sanin offered the Chinese readers an apology for individualism'.

[Artsybashev, Mikhail Petrovich]. Shaning. Pan Xun yi. [ID D38791].
Pan Xun told a friend that he had translated Sanin in order to 'introduce the nineteenth-century Russian trend for individual liberation, of which Artsybashev was a representative, while using the opportunity to attack the die-hard ethics of Chinese feudal society.'

Milan Kundera in China.
Song Binghui : Kundera inspired Chinese intellectuals to reflect on identity and responsibility, and to the communist practice by offering a unique perspective different from that of the Soviet Union, West and China. His influence on Chines writers are mostly implicit, latent and philosophical in domains of fictional concepts, construction of plots, representation and style.
Han Shaogong realized from the very beginning that Chinese readers particularly needed Kundera because of the similarities between China and the socialist Czechoslovakia described by Kundera.

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Ellen Catleen kommt in China an und arbeitet als Karikaturistin.

Henry J. Brett ist britscher Commercial Councellor in China.

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