Yu, Shangyuan
(Shashi, Hubei 1897-1970) : Dramatiker, Regisseur, Leiter National Drama School, Theater-Kritiker
Subjects
Index of Names : China
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Literature : China : Drama and Theatre
Chronology Entries (8)
| # | Year | Text | Linked Data |
|---|---|---|---|
| 1 | 1922 |
Yu, Shangyuan. Guo qu er shi er xi ju ming jia ji qi dai biao zuo [ID D26242]. Yu schreibt : "In the seventeen popular Ibsen plays, there are three categories : first, historico-mythical plays ; second, verse plays ; third social plays. There are six plays in the first category, three in the second and eight in the third. The most famous of course are the eight social plays, but the one most typical of Ibsen's spirit and his technique is A doll's house. Firstly, it is a tragedy of marriage and also a spiritual pillar of the modern women's movement. We have said before that the central idea of Ibsen's tragedies lies in heredity - for example Ghosts - and Ghosts is a sequel to A doll's house. Helmer is representative of 'the pillars of society', whereas Nora is of the spirit as exhibited by Selina, Mrs. Alving, and Rebecca. Secondly, the play has establised a model for the form of modern drama." Tam Kwok-kan : Yu Shangyuan puts Ibsen's plays into three categories : the historico-mythical, verse, and social. He thinks that Nora is the most representative of the eight social plays, because the play shows every aspect of the techniques of modern playwriting. The play is treasured first of all for its feminist theme : "It is a tragedy of marriage and also a spiritual pillar of the modern women's movement. The central idea of Ibsen's tragedies lies in heredity – for example, Ghosts – and Ghosts is a sequel to Nora. Helmer is typical of the falsehood described in The pillars of society, whereas Nora is of the rebellious spirit portrayed in Selina, Mrs. Alving and Rebecca". Yu also introduces the play as a structural model for modern Chinese drama. |
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| 2 | 1924 |
Yu, Shangyuan. Jin ri zhi Meiguo bian ju jia Aoni'er [ID D28770]. Yu discussed the introduction of Eugene O'Neill into China and gave brief synopses of a number of O'Neill's plays, including 'Beyond the horizon', 'The emperor Jones', 'Anna Christie', 'The hairy ape', and 'The first man'. He categorized them as plays ranging from symbolism, realism, psychology, and expressionism to the discussion of social problems and the portrayal of characters. In addition to summarizing the mentioned plays, Yu also tried his hand at assessing O'Neill's contribution to drama by commenting 'O'Neill's writing style as wee as his characters thrives with vitality. His dramatic technique is extraordinary and he always creates something new'. With Walt Whitman, American poetry can be seen as full-grown ; with O'Neill, true American theatre appears on the world stage'. |
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| 3 | 1925 |
Yu, Shangyuan. Bing bian. In : Chen bao fu kan (1925). Theaterstück, beeinflusst von Nora von Henrik Ibsen. 兵变 |
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| 4 | 1928 |
Yu, Shangyuan. Yibusheng de yi shu [ID D26243]. Tam Kwok-kan : Yu states that Ibsen is basically an artist rather than a philoospher, thinker, and idealist. He points out Ibsen's achievements in dramatic tehnique. The greatness of Ibsen lies in his artistic presentation of a complex idea. He accounts for Ibsen's success by his realistic treatment of contemporary issues. Ibsen's realism in characterization, dialogue, and setting is particularly powerful. "Ibsen's greatness lies in his use of life as subject-matter and realism as a means for artistic achievement, and the use of technique as a medium to blend and balance thought and art." "In modern China, Ibsen is among those who have had the bad luck of being misinterpreted." |
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| 5 | 1937 |
Aufführung von = Weinishi shang ren [ID D14427] = The merchant of Venice von William Shakespeare in der Übersetzung von Liang Shiqiu durch die Guo li xi ju zhuan ke xue xiao (The National Drama School) unter der Regie von Yu Shangyuan in Nanjing. Yu Shangyuan schreibt einen Artikel in Zhong yang ri bao ; June 18 (1937) : He explains why the first graduating class of his school would perform a public Shakespearean production. He held what it was of great significance to use Shakespeare's plays for drama training because they had been universally accepted as one of the most important theatrical activities in the world and even as the highest standard of stage representation. |
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| 6 | 1938 | Aufführung von Hei jiang jun = The black general = Othello = 黑殭菌von William Shakespeare in der Übersetzung von Liang Shiqiu durch die Guo li xi ju zhuan ke xue xiao, Sichuan unter der Regie von Yu Shangyuan in Chongqing. | |
| 7 | 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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| 8 | 1948 | Aufführung von Weinishi shang ren = The merchant of Venice von William Shakespeare in der Übersetzung von Liang Shiqiu durch die Guo li xi ju zhuan ke xue xiao (The National Drama School), Nanjing unter der Regie von Yu Shangyuan und Yan Zhewu. |
Bibliography (5)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1922 |
Yu, Shangyuan. Guo qu er shi er xi ju ming jia ji qi dai biao zuo. In : Chen bao fu kann ; 9-31 October 1922. [Twenty-two famous dramatists and their representative works ; enthält Henrik Ibsen]. 過去二十二戲劇名家及其代表作 |
Publication / Ibs84 | |
| 2 | 1927 |
Yu, Shangyuan. Jin ri zhi Meiguo bian ju jia Aoni'er. In : Xi ju lun ji. (Shanghai : Bei xin shu ju, 1927). [Der zeitgenössische Dramatiker Eugene O'Neill]. 戲劇論集 |
Publication / One57 |
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| 3 | 1928 |
Yu, Shangyuan. Yibusheng de yi shu. In : Xin yue ; vol. 1, no 30 (May 1928). [The art of Henrik Ibsen]. 伊卜生的藝術 |
Publication / Ibs85 | |
| 4 | 1930 |
[Barrie, J.M.]. Ke qin pei de Kelaidun. Bali zhu ; Yu Shangyuan yi. (Shanghai : Xin yue shu dien, 1930). Übersetzung von Barrie, J.M. The admirable Crichtong : a fantasy in four acts. (London : Miss Slater, 1903). [MS. Erstaufführung Lyceum Theatre, New York 1903]. 可欽佩的克来敦 |
Publication / BarJM6 | |
| 5 | 1941 |
Modern Chinese plays. Ed. and transl. by Ku Tsong-nee [Gu Zhongyi]. (Shanghai : Commercial Press, 1941). [Enthält] : Tian, Han. One evening in Soochow. = Suzhou ye hua (1929). 苏州夜话 Yu Shangyuan. The mutiny. = Bing bian (1925). 兵變 Ding, Xilin. The oppressed. = Ya po (1926). 压迫 Xiong, Foxi. The drunkard. = Zui le (1928). Tian, Han. A West lake tragedy. = Hu shang de bi ju (1928). Xiong, Foxi. The artist. = Yi shu jia (1928). 藝術家 |
Publication / KuT1 |
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