Jiao, Juyin
(Tianjin 1905-1975 nach Folterung) : Regisseur, Übersetzer
Subjects
Index of Names : China
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Literature : China : Drama and Theatre
Chronology Entries (7)
| # | Year | Text | Linked Data |
|---|---|---|---|
| 1 | 1927 |
[Lavrin, Janko]. Yi shu jia de Yibusheng. Jiao Juyin yi. [ID D26219]. Lavrin schreibt : "Ibsen is also one of those who look upon the creation of art as a means to the creation of life. He hated mere aestheticism with its dogmatic l'art pour l'art, considering it as dangerous to ture art as dogmatic theology is to true religion. In the first half of his literary activity, Ibsen was considerably under the influence of the French drama of mere plot and situations. But as soon as he came to regard the intrigue, as well as the character, subspecie of some 'idea' or other, he was led gradually by corresponding changes in technique, to the so-called Ibsenian play. Intrigue for the sake of intrigue lost its former importance for him, and in transferring the centre of gravity to the 'philosophy' and psychology of the characters, he naturally emphsized the inner at the expense of the external drama. The consequence was that the external dramatic action and movement were reduced to a minimum, to be replaced by the inner dramatic tension. With this object Ibsen (in his later works) put the tragic quilt of his heroes into the past, i.e. outside the acted drama. By partial confessions, by mysterious hints and allusions to previous quilt he creates from the very beginning of the play that peculiar 'Ibsenian' atmosphere which draws our attention so strongly to the inner working of the characters. The external catastrophe itself is for Ibsen only a pretext and symbol of an inner transformation." |
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| 2 | 1928 |
Jiao, Juyin. Lun Yibusheng [ID D26218]. Jiao schreibt : "Ibsen was a thinker, a satirist, and last but not least an artist. If you study carefully his ideas, you may find that in many places Ibsen deviated from modern ideology, yet his greatness lies in his art. Even he himself admitted that he as a poet and not a sociologist. In recent years there have been many discussions of Ibsen in China. Many people have taken Ibsen primarily as a thinker. Of course we need thoughts, but we also need art. Our choice of art works surely may take on Soviet Russia's politcy towards foreign films, but we cannot deny a person's art because we deny his thought. By the person's thought because of his art. Whether or not Ibsen's philosophy is suitable for China, I cannot tell. At least I can conclude that present-day China does not need egotism - nevertheless, the kind of individualism Ibsen believed in is beneficial to our society because it means exactly the spiritual liberation and purification of the self. In China, there are many people who have lost their souls. Without a spirit, there cannot be a liberation, a purification of the self." Tam Kwok-kan : Jiao's essay covers Ibsen's Scandinavian background, biography, plays, and ideological inclinations. Jiao affirms that Ibsen is greater than his Norwegian contemporaries and that his success and popularity all over the world are due to the universal significance of his plays. Jiao stresses the philosophical, artistic, and satiric aspects of Ibsen’s drama. He regards Ibsen as a master who contributes to the perfection of realism as a dramatic technique in his problem plays, in which there is an effort to present the social issues rather than to provide a solution for them. According to Jiao, Ibsen as a thinker wrote his plays as an emotional relief of his own personal obsessions. Jiao recapitualtes the social evils rooted in the family, law, religion, traditional morals, and society. |
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| 3 | 1935 | Jiao Juyin promoviert in Theaterwissenschaft an der Sorbonne. |
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| 4 | 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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| 5 | 1947 |
Jiao Juyin acclaimed Anton Pavlovich Chekhov as "the supreme taste for arts and literature." Jiao, one of the pioneers who introduced Chekhov to China's drama circle and translated some of Chekhov's works into Chinese in the early 1940s, once said he benefited much from Chekhov. "I started directing in a unique way: It was not Konstantin Stanislavsky who helped me understand Chekhov, it was Chekhov who helped me understand Stanislavsky." |
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| 6 | 1948 |
Aufführung von Zhu qing ji (jing ju) = The story of tempering love = Romeo and Juliet von William Shakespeare in der Adaptation von Weng Ouhong durch die Xiao you ju tuan (Alumni Company), Beijing unter der Regie von Jiao Juyin. Wang Jinlu spielt Romeo. Wang Jinlu sagt im Interview zu Li Ruru : "The play was adapted in accordance with the form of a Chinese story, yet the adaptation was not done as a totally conventional jing ju. For exemple, although the female roles wore traditional make-up, the costumes were modified. We used jin ju melodies, but there were long prose recitations rarely heard in traditional plays. The play was divided according to acts. There were also scenery and lighting effects. The ball in the original was changed to a 'choosing a son-in-law and fencing competition'. In the last act, we devised an episode in which there was fighting with real swords. The play was well received by audiences. A a reformed play, it was also approved by veterans in the jing ju circle." |
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| 7 | 1959 | Aufführung von Hamlet von William Shakespeare in der Übersetzung von Zhu Shenghao durch Studenten der Zhong yang xi ju xue yuan (Central Academy of Drama) unter der Regie von Jiao Juyin in Beijing. |
Bibliography (13)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1927 |
[Lavrin, Janko]. Yi shu jia de Yibusheng. Jiao Juyin yi. In : Chen bao fu kann ; no 16-17 (1927). Übersetzung von Lavrin, Janko. Ibsen as artist. In : Lavrin, Janko. Ibsen and his creation : a psycho-critical study. (London : W. Collins Sons & Co., 1921). 藝術家的易卜生 |
Publication / Ibs61 | |
| 2 | 1928 |
Jiao, Juyin. Lun Yibusheng. In : Chen bao fu kan ; 20-28 March 1928. [On Ibsen]. 論易卜生 |
Publication / Ibs60 | |
| 3 | 1947 |
[Zola, Emile]. Nana. Zuola zhu ; Jiao Juyin yi. (Shanghai : Wen hua sheng huo chu ban she, 1947). Übersetzung von Zola, Emile. Nana. (Paris : G. Charpentier, 1880). 娜娜 |
Publication / Zola87 | |
| 4 | 1947 |
[Chekhov, Anton Pavlovich]. Ying tao yuan. Jiao Juyin yi. (Shanghai : Zuo jia shu wu, 1947). (Shi jie ming ju xuan ; 1). Übersetzung von Chekhov, Anton Pavlovich. Vishnevyi sad : komediia v chetyrekh dieistviiakh. (S. Peterburg : Izd. A.F. Marksa, 1904). = The cherry orchard. In : Chekhov, Anton Pavlovich. Plays. (London : Duckworth, 1912). = Der Kirschgarten : Tragikomödie in vier Aufzügen. (München : G. Müller, 1912). [Erstaufführung Moscow Art Theatre unter der Regie von Konstantin Stanislavski, 1904]. 櫻桃園 |
Publication / Chek121 | |
| 5 | 1949 |
[Poe, Edgar Allan]. Ailun Po gu shi ji. Ailun Po ; Jiao Juyin yi. (Shanghai : Chen guang chu ban gong si, 1949). (Chen guang shi jie wen xue cong shu ; 7). [Übersetzung ausgewählter Short stories von Poe]. 爱伦坡故事集 [Enthält] : The black cat, The mystery of Marie Roget, The gold bug, Lionizing. |
Publication / Poe29 | |
| 6 | 1949 |
[Poe, Edgar Allan]. Hai shang li xian ji. Jiao Juyin yi. (Shanghai : Chen guang chu ban gong si, 1949). Übersetzung von Poe, Edgar Allan. The narrative of Arthur Gordon Pym of Nantucket. (New York, N.Y. : Harper & Brothers, 1938). 海上歷險記 |
Publication / Poe43 | |
| 7 | 1949 |
[Gorky, Maksim]. Wei wan cheng de san bu qu. Jiao Juyin yi. (Shanghai : Wen hua sheng huo chu ban she, 1949). (Yi wen cong shu). Übersetzung von Gorky, Maksim. Egor Bulychov i drugie : stseny. (Berlin : Verlag Kniga, 1932). = Egor Bulychev. = Yegor Bulychov. In : The last plays of Maxim Gorki. (New York, N.Y. : International Publishers, 1937). [Erstaufführung Tovstonogov Bolshoi Drama Theater, St. Petersburg 1932]. 未完成的三部曲 |
Publication / Gork165 | |
| 8 | 1956 |
[Gorky, Maksim]. Gao'erji xuan ji : xi ju ji. Lin Ling, Lu Feng, Jiao Juyin yi. (Beijing : Ren min wen xue chu ban she, 1956). [Übersetzung der Dramen von Gorky]. 高尔基选集 : 戏剧集 |
Publication / Gork80 | |
| 9 | 1956 |
[Gorky, Maksim]. Xi ju ji. Lin Ling, Lu Feng, Jiao Juyin yi. (Beijing : Ren min wen xue chu ban she, 1956). (Gao'erji xuan ji). [Übersetzung der Dramen von Gorky]. 高尔基选集 : 戏剧集 |
Publication / gork172 | |
| 10 | 1957 |
[Chekhov, Anton Pavlovich]. Fanniya jiu jiu. Qihefu zhu ; Jiao Juyin yi. (Xianggang : Zhong lu chu ban she, 1957). Übersetzung von Chekhov, Anton Pavlovich. Diadia Vania (1897). In : Chekhov, Anton Pavlovich. P'esy. (S.-Peterburg : Izd. A.S. Suvorina, 1897). = Onkel Wanja : Scenen aus dem Landleben in vier Acten. (Berlin : J. Edelheim, 1902). = Uncle Vanya. In : Chekhov, Anton Pavlovich. Plays. (London : Duckworth, 1912). [Erstaufführung Moscow Art Theatre unter der Regie von Konstantin Stanislavski, 1899]. 凡尼亞舅舅 |
Publication / Chek22 | |
| 11 | 1960 |
[Gorky, Maksim]. Yege'er Buleiqiaofu he bie de ren. Gao'erji ; Jiao Juyin yi. (Beijing : Zhongguo xi ju chu ban she, 1960). Übersetzung von Gorky, Maksim. Egor Bulychov i drugie : stseny. (Berlin : Verlag Kniga, 1932). = Egor Bulychev = Yegor Bulychov. In : The last plays of Maxim Gorki. (New York, N.Y. : International Publishers, 1937). [Erstaufführung Tovstonogov Bolshoi Drama Theater, St. Petersburg 1932]. 耶戈尔布雷乔夫和別的人 |
Publication / Gork186 | |
| 12 | 1980 |
[Chekhov, Anton Pavlovich]. Qihefu xi ju ji. Jiao Juyin yi. (Shanghai : Shanghai yi wen chu ban she, 1980). 契诃夫戲剧集 [Enthält]: Yifannuofu. Übersetzung von Chekhov, Anton Pavlovich. Ivanov (1887/1889). In : Severyi vestnik (1889). [2nd ed.]. = In : Chekhov, Anton Pavlovich. P'esy. (S.-Peterburg : Izd. A.S. Suvorina, 1897). = Iwanow : Drama in vier Aufzügen. Deutsch von August Scholz. (Berlin : J. Ladyschnikow, 1906). = Ivanov. In : Chekhov, Anton Pavlovich. Plays. (London : Duckworth, 1912). [Erstaufführung Korsh Theatre Moskau 1887, gescheitert. Alexandrinsky Theater St. Petersburg 1889, umgeschrieben]. 伊凡諾夫 Hai ou. Übersetzung von Chekhov, Anton Pavlovich. Chaika (1895). In : Chekhov, Anton Pavlovich. P'esy. (S.-Peterburg : Izd. A.S. Suvorina, 1897).= Die Möwe : Schauspiel in vier Aufzügen. (Leipzig : Ed. Diederichs, 1902). = The seagull. In : Chekhov, Anton Pavlovich. In : Chekhov, Anton Pavlovich. Plays. (London : Duckworth, 1912). = La mouette : comédie en 4 actes. (Paris : Libraire théâtrale, 1955). [Erstaufführung Alexandrinsky Theater, St. Petersburg, 1896]. 海鷗 Fanniya jiu jiu. Übersetzung von Chekhov, Anton Pavlovich. Diadia Vania (1897). In : Chekhov, Anton Pavlovich. P'esy. (S.-Peterburg : Izd. A.S. Suvorina, 1897). = Onkel Wanja : Scenen aus dem Landleben in vier Acten. (Berlin : J. Edelheim, 1902). = Uncle Vanya. In : Chekhov, Anton Pavlovich. In : Chekhov, Anton Pavlovich. Plays. (London : Duckworth, 1912). [Erstaufführung Moscow Art Theatre unter der Regie von Konstantin Stanislavski, 1899]. 凡尼亞舅舅 San jie mei. Übersetzung von Chekhov, Anton Pavlovich. Tri sestry : drama. (1900). (S. Peterburg : Izd. A.F. Marksa, 1901). ). = Drei Schwestern : Drama in vier Aufzügen. (Leipzig : E. Diederichs, 1902). = The three sisters. In : Chekhov, Anton Pavlovich. Plays. (London : Duckworth, 1912). [Erstaufführung Moscow Art Theatre unter der Regie von Konstantin Stanislavski, 1901]. 三姊妹 Ying tao yuan. Übersetzung von Chekhov, Anton Pavlovich. Vishnevyi sad : komediia v chetyrekh dieistviiakh. (S. Peterburg : Izd. A.F. Marksa, 1904). = The cherry orchard. In : Chekhov, Anton Pavlovich. Plays. (London : Duckworth, 1912). = Der Kirschgarten : Tragikomödie in vier Aufzügen. (München : G. Müller, 1912). [Erstaufführung Moscow Art Theatre unter der Regie von Konstantin Stanislavski, 1904]. 櫻桃園 |
Publication / Chek82 | |
| 13 | 1982 |
[Nemirovich-Danchenko, Vladimir I]. Wen yi, xi ju, sheng huo. N. Danqinke zhu ; Jiao Juyin yi. (Beijing : Zhongguo xi ju chu ban she, 1982). Übersetzung von Nemirovich-Danchenko, Vladimir I. Iz proshlogo. (Moskva : Academia, 1936). [Abhandlung über Anton Pavlovich Chekhov]. 文藝戲劇生活 |
Publication / Chek158 |