Sun, Jiaxiu
(um 1984) : Professorin Central Academy of Drama Art
Subjects
Index of Names : China
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Literature : China : Drama and Theatre
Chronology Entries (6)
| # | Year | Text | Linked Data |
|---|---|---|---|
| 1 | 1982 |
Sun, Jiaxiu. Yibusheng he ta de xi ju [26258]. Sun Jiaxiu schreibt über Rosmersholm von Henrik Ibsen : "In this play, Ibsen uses the illusion of white horses as a symbol, which obviously goes together with the theme and the event. But in fact, the symbol has the play covered with the atmosphere of mysticism and decadent emotion. We feel that it damages the realistic quality of the play, and at the same time reflects a negative element in the writer's emotion." Ibsen's last play When we dead awaken seems to Sun the most disappointing : "The play has achieved nothing so far as dramatic techniques are concerned. It lacks dramatic action and life. The characters are very abstract. We perhaps can see further how the limitations in his thinking and emotion have brought Ibsen sadness and disappointment." |
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| 2 | 1984 | Gründung des China Shakespeare Research Centre durch die Central Academy of Drama an der Beijing-Universität. Sun Jiaxiu wird Direktorin. | |
| 3 | 1986 | Radio Übertragung in einer BBC Version von Romeo and Juliet von William Shakespeare durch die Zhongguo zhong yang dian shi tai (Central Television Station) unter der Regie von Sun Jiaxiu. | |
| 4 | 1986 | Aufführung von King Lear von William Shakespeare in der Übersetzung von Sun Jiaxiu [et al.] durch die Zhong yang xi ju xue yuan (Central Academy of Drama), Beijing unter der Regie von Ran Jie, Liu Muduo und Li Zibo. | |
| 5 | 1991 |
Aufführung von Major Barbara von George Bernard Shaw im Beijing People's Art Theater in der Übersetzung und unter der Regie von Ying Ruocheng ; mit Zhu Lin als Lady Britomart, Song Dandan als Major Barbara, Zhu Xu als Andrew Undershaft und Ren Baoxian als Cusins. Wang Zuoliang schreibt eine Review in der Ren min ri bao ; June 20 (1991) : "What Shaw is saying in the play is in Western society, the capitalist rule everything. In order to show this through characterization and setting, he makes use of all his linguistic powers. The Beijing People's Art Theatre Troupe has this ability. They are nurtured by the spoken scenes in traditional Chinese opera, and trained by the Beijing People's Art Theatre Troupe's habit of paying attention to tone. Even the Chinese old poems also nurtured them. The attempt to perform various kinds of foreign plays in these years has expanded their experience. Therefore when the play began, the refined and yet authoritative expressions of Lady Britomart, played by Zhu Lin, aroused our expectations. When Undershaft, played by Zhu Xu, enters, faced by his wife who is difficult to deal with and his children, he courteously and vigilantly wards off their criticism and refuses their demands." Shen Huihui schreibt eine Review in der Guang ming ri bao ; June 15 (1991) : "Major Barbara was first performed in 1906. Bernard Shaw stepped out bravely, crying out to stop the imperialist war. He was not afraid of being misunderstood or ciricized. Using his deep thinking, he foresaw that imperialism and capitalism would make use of war to lead mankind into a darker abyss. In Major Barbara, he satirically reveals the real purposes of the conspiracy between politics and religion, and criticizes sharply the church and political authority at that time." Sun, Jiaxiu. He Xiao Bona xi ju she ci shang yan : kan hua ju Babala shao xiao. In : Xi ju ; no 8 (1991). Er schreibt über die Aufführung von Major Barbara : "Act two is an important act for Bernard Shaw. It thoroughly exposes the evils of poverty and ist irreparable effects on society under the capitalist system. Capitalism deprives people of their dignity. Capitalism turns people into rude, cruel, and inhuman creatures as in the case of Walker. Capitalism produces an extreme polarity between rich and poor, as well as the moral degradation seen in alcoholism and dishonesty. Shaw wrote this act to expose the capitalist system, but the production did not effectively accomplish that exposure, especially with the excision of some of the discussion in this act." Wendi Chen : The production was peculiar because the political, social and cultural climate of the time was not in favor of staging such a play, and it was significant because the production was charched with a serious social and professional mission. The following day the Da wan bao (Beijing evening news) reported that "many people in the drama profession as well as a large general audience attended the first night's performance. The play was received with great enthusiasm". Ke Wenhui, one of the literary critics wrote : "The first night's performance ended with laughter and extended applause. The dramatic effect was extraordinary. It was an event unlike any other during the last few years". Major Barbara was a major dramatic event for the following reasons : the great reputation of Shaw in China, the reputation of Ying Ruocheng and his cast, the prominence of the location where the performance took place and possibly, the striking contrast between the production of this foreign play and local productions. Ying confessed that his interest in Shaw dated back to his college days in the 1940s ; it was his 'long cherished wish' to be able to put Shaw on the Chinese stage : "If we don't include Bernard Shaw, we are not presenting a full picture of twentieth century drama. Shaw occupies a crucial position in the development of modern drama". Ying was fully aware of the scope of technical challenges in producing the play. He repeatedly cautioned his cast with respect to Shaw's language and characterization. He warned : "Shaw's plays are seldom staged in China mainly because of his language. His verbal skills consist of many tit-for-tat witty exchanges". |
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| 6 | 1995 |
Sun, Jiaxiu. He Xiao Bona xi ju shou ci shang yan. In : Zhongguo xi ju ; 7 (1995). [On the forst performance of Bernard Shaw's play : watching the spoken Drama Major Barbara].kl "The ideas of Bernard Shaw expressed in the play were considered advanced at the time when it was written. We should also note his limitation. It is greatly contradictory. The play was written in 1905 before the socialist revolution. Bernard Shaw notes and reveals deeply the innate contradiction in his society. Yet, the view raised in the play were those when he joined the Fabian Society, that is, a slow progressive revolution and the practice of amerliorism. They advocate using production to work for social progress, and improving employer-employee relationship. One has to be fed before one can talk about morality. But Shaw is not critical toward what is produced. Even cannons can be produced. Shaw affirms capitalist production, which means that he also affirms the capitalist system. Undershaft is the incarnation of Shaw, and a mouthpiece of some of his social ideas. The innermost being of Cusins is very bad, and he hides that by reciting the poems of Euripides. Shaw fails at the depiction of Major Barbara. The play has not given her more lines and action. She is not a very devoted Christian. She is an upper-class lady. China has published many translations of Shaw's works and recommends him as a world-famous cultural personage. But this is only half the work. It should be followed by performances. If Shaw's works were brought here without any change, the performance would be too long for China's audience. If the translation has foreign flavor, the Chinese audience will have difficulty accepting it. Ying Rucheng has translated the play into an intelligent natural language understandable by the Chinese audience. I think that the Chinese audience likes plays with a strong plot and rich human emotions. Therefore, the performance of Shaw's play in China has a certain degree of difficulty. Before the liberation of China, people had tried but failed. Shaw's play became a hard nut to crack, and nobody dared to bite in many years." |
Bibliography (6)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1981 |
Sun, Jiaxiu. Makesi, En'gesi he Shashibiya xi ju. (Beijing : Zhongguo xi ju chu ban she, 1981). (Sun, Jiaxiu. Makesi, En'gesi he Shashibiya xi ju). [Abhandlung über William Shakespeare, Karl Marx und Friedrich Engels]. 马 克思, 恩格斯和莎士比亚戏剧 / 孫家琇编 |
Publication / Shak319 | |
| 2 | 1982 |
Sun, Jiaxiu. Yibusheng he ta de xi ju. In : Xi ju xue xi ; no 3 (1982). [Ibsen and his drama]. 易卜生和他的戏剧 |
Publication / Ibs101 |
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| 3 | 1988 |
Sun, Jiaxiu. Lun Shashibiya si da bei ju. (Beijing : Zhongguo xi ju chu ban she, 1988). [Abhandlung über die Tragödien von William Shakespeare]. 论 莎士比亚四大悲剧 |
Publication / Shak318 | |
| 4 | 1992 |
Shashibiya ci dian. Sun Jiaxiu zhu bian ; Zhou Peitong, Shi Zongshan, Zheng Tusheng fu zhu bian. (Shijiazhuang : Hebei ren min chu ban she, 1992). [William Shakespeare Wörterbuch]. 沙士比亚辞 |
Publication / Shak301 | |
| 5 | 1992 |
Sun, Jiaxiu. Shashibiya ci dian. Zhou Peitong, Shi Zongshan, Zheng Tusheng fu zhu bian. (Shijiazhuang : Hebei ren min chu ban she, 1992) [Wörterbuch von William Shakespeare]. 沙士比亚辞典 |
Publication / Shak320 | |
| 6 | 1994 |
Sun, Jiaxiu. Shashibiya yu xian dai xi fang xi ju. (Chengdu : Sichuan jiao yu chu ban she, 1994). [Abhandlung über William Shakespeare]. 莎 士比亚与现代西方戏剧 |
Publication / Shak321 |