“Chinese Shakespeares : two centuries of cultural exchange” (Publication, 2009)
Year
2009
Text
Huang, Alexander C.Y. Chinese Shakespeares : two centuries of cultural exchange. (New York, N.Y. : Columbia University Press, 2009). (Global Chinese culture). (Shak36)
Type
Publication
Contributors (1)
Huang, Alexander C.Y.
(um 2009) : Associate Professor, Department of Comparative Literature, Pennsylvania State University, University Park
Mentioned People (1)
Shakespeare, William
(Stratford-upon-Avon 1564-1616 Stratford-upon-Avon) : Dramatiker, Dichter
Subjects
Literature : Occident : Great Britain
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References / Sources
Chronology Entries (16)
| # | Year | Text | Linked Data |
|---|---|---|---|
| 1 | 1839 |
Lin, Zexu. Si zhou zhi [ID D2013]. Erste Erwähnung von William Shakespeare und John Milton in China. Er schreibt : 在感彌利赤建書館一所。有沙士比阿、彌爾頓、士達薩特彌頓四人工詩文 = Zai Ganmilichi jian shu guan yi suo. You Shashibiya, Mierdun, Shidasate, Midun si ren gong shi wen. = [In Greenwich (?) hat man eine Buchhandlung gebaut, in der es die vier Erschaffer der Literatur gibt : William Shakespeare, John Milton, Edmund Spenser, John Dryden. Pope wird in der Übersetzung nicht erwähnt]. |
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| 2 | 1867 | Aufführung von Shylock, or The merchant of Venice preserved : an entirely new reading of Shakespeare (1853) von Francis Talfourd durch den Hong Kong Amateur Dramatic Club. | |
| 3 | 1896 |
Aufführung von The merchant of Venice von William Shakespeare. Erste englische Aufführung von Studenten des Foreign Language Department des St. John College Shanghai. This was not in its original form and the purpose of performance was for practicing English language. |
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| 4 | 1904 |
San, Ai [Chen, Duxiu]. Lun xi qu. In : Anhui su hua bao ; Sept. 10 (1904). Er schreibt : "Theatre is a great school for all the people under heaven ; theatre artists are in fact influential teachers. [In the past], actors were considered no better than prostitutes, not permitted by the court to become government officials through civil exams. In the West the situation is just the opposite : the actors are equals of the literary and the learned, because it is believed that theatre is extremely important in fostering morals and values." |
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| 5 | 1913 | Aufführung von The woman lawyer = The merchant of Venice von William Shakespeare durch die Shanghai Eastern Girls' High School in der Adaptation von Bao Tianxiao. | |
| 6 | 1913 | Aufführung von The taming of the shrew von William Shakespeare durch die Chun liu she (Spring Willow Society) in Changsha. |
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| 7 | 1913 |
Sun, Yuxiu. Ou mei xiao shuo cong tan [ID D35025]. Sun compared Henry Fielding, Samuel Richardson, and Shakespeare, and concluded : "Fielding's works only had a few ardent admirers and Richardson was fashionable in a particular historical period, but Shakespeare alone is of all ages and of all nations." Sun treated Samuel Hawthorne as "a second-class novelist to Washington Irving and James Fenimore Cooper". He ranked The scarlet letter as a firs-class American novel because "its theme was high and its diction war rich". |
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| 8 | 1927 | Erster chinesischer Stummfilm von Nü lü shi [The woman lawyer] = 女律师 = The merchant of Venice von William unter der Regie von Qiu Yixiang und Li Pingqian. |
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| 9 | 1931 | Stummfilm von Yi jian mei = A spray of plum blossom = 一剪梅 = Adaptation von The two gentlemen of Verona von William Shakespeare unter der Regie von Bu Wancang. |
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| 10 | 1942 |
Aufführung von Hamuleite = Hamlet von William Shakespeare in der Übersetzung von Liang Shiqiu durch die Guo li xi ju zhuan ke xue xiao (National Drama School), unter der Regie von Jiao Juyin. Wen Xiying spielt Hamlet, Lu Shui Ophelia in einem konfuzianischen Tempel in Jiang'an. Jiao Juyin hält eine Rede vor der Schauspieltruppe : "The character of Hamlet is like a mirror, a lesson to us people who are living the the period of the Anti-Japanese war... So, the conclusion we can draw from the tragedy of Hamlet is that victory in our Anti-Japanese war will depend on the joint action taken by the people all over the country, and also more on immediate actions taken by the people without any hesitation. Today this sounds more correct than ever as triumphant reports pour in from battlefields on the anti-Nazi front all over the world, and we can foresee our victory against the Japanese invaders as well. This is the significance underlying our introduction of Hamlet to Chinese audiences. As to the skills or techniques of the performance, this is less significant, and it is quite unnecessary to bother too much about where it succeeds or fails." Yu Shangyuan, Leiter der National Drama School in 1942 sagt : "The social significance of Hamlet [to us] is Hamlet's progressive and revolutionary spirit, which is what the Chinese people need during the Anti-Japanese war. Prince Hamlet resisted the destiny arranged by fate, countered feudal oppressions, and sought liberation from an environment filled with licentious and corrupt individuals. Those countries that produce the most high-quality Shakespearean productions are the countries with the highest cultural prestige. Performing Shakespeare is a crucial step for our country to catch up and to join the countries with world-class cultural achievements". |
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| 11 | 1957 | Aufführung von Much ado about nothing von William Shakespeare in der Übersetzung von Zhu Shenghao [ID D23403] durch die Shanghai xi ju xue yuan (Shanghai Theatre Academy) unter der Regie von Yevgeniya Konstantinovna Lipkovskaya und Hu Dao in Shanghai und Beijing. | |
| 12 | 1983 |
Aufführung von Othello von William Shakespeare in der Übersetzung von Shao Hongchang durch die Beijing shi yan jing ju tuan (Beijing Experimental Jingju Company) unter der Regie von Zheng Bixian. Ma Yong'an spielt Hamlet, Li Yalan Desdemona. Ma Yong’an sagt 2002 in einem Interview zu Alexander Huang : "The biggest challenge to me, a person trained in the ‚hua lian’ role type, is to bring out the delicate emotions and sensitivity of a seemingly rough and masculine chracter like Othello. As an actor specializing in the ‘hua lian’ role type, I was used to enacting rough, militant, and quick-tempered characters such as generals, soldiers, or court officials. The love between Othello and Desdemona needs to be carefully developed, so that the audience can relate to their situations later on in the tragedy." |
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| 13 | 1986 | Yi Kai, ein Theaterkritiker schreibt über die Aufführungen von William Shakespeare : "Since the opening up of our closed social and economic structure, our national spirit has chenged from static to fluid, people’s aesthetic concerns and theatre-going habits changed from the collective to the individualized. A profound, all-around reform has been going on slowly but surely within the traditional Chinese theatre circles. It is no coincidence that traditional Chinese theatre productions of Shakespeare have come along." |
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| 14 | 1993 |
Wu, Ningkun ; Li, Yikai. A single tear : a family’s persecution, love, and endurance in communist China. (New York, N.Y. : Atlantic Monthly Press, 1993). Er schreibt über Hamlet von William Shakespeare : "At the end of my long day's work it was a joy for me to spend time talking with [my wife] about her reading. I would recite Hamlet’s great soliloquies for her... Hamlet was my favorite Shakespeare play. Read in a Chinese labor camp, however, the tragedy of the Danish prince took on unexpected dimensions... The outcry 'Denmark is a prison' echoed with a poignant immediacy, and Elsinore loomed like a haunting metaphor of a treacherous repressive state. The Ghost thundered with a terrible chorus of a million victims of proletarian dictatorship. Rosencrantz and Guildenstern would have felt like fish in water, hat they found their way into a modern nation of hypocrites and informers... I would say to myself, 'I am not Prince Hamlet, nor was meant to be', echoing Eliot's Prufrock. Rather, I often felt like one of those fellows 'crawling between earth and heaven', scorned by Hamlet himself. But the real question I came to see was neither 'to be, or not to be', nor whether 'in the mind to suffer the slings and arrows of outrageous fortune', but how to be worthy of one's suffering. Hamlet suffered as an archetypal modern intellectual. Touched off by practical issues in the kingdom of Denmark, his anguish, emotional, moral, and metaphysical, took on cosmic dimensions and permeated the great soliloquies with an ever-haunting rhytm. When I recited them to myself on the lake shore, I felt this anguish was the substance of the tragedy." |
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| 15 | 1999 | Aufführung von A Rock 'n' Roll Midsummer night's dream of the East in der Adapation nach William Shakespeare unter der Regie von Liang Zhimin in Taibei. | |
| 16 | 2000 | Aufführung von A midsummer night's dream von William Shakespeare durch das Hong Kong Repertory Theatre (Xianggang hua ju tuan) unter der Regie von Daniel S.P. Yang. |
Sources (1)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1913 |
Sun, Yuxiu. Ou mei xiao shuo cong tan. In : Xiao shuo yue bao ; vol. 4, no 5 (1913). [Talks on European and American fiction ; enthält Henry Fielding, Samuel Richardson, Washington Irving, James Fenimore Cooper and Shakespeare]. 歐美小說叢談 |
Publication / HawN64 |
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Cited by (1)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 2000- | Asien-Orient-Institut Universität Zürich | Organisation / AOI |
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