Tian, Han
(Changsha, Hunan 1898-1968 Gefängnis) : Dramatiker, Übersetzer
Name Alternative(s)
Tian, Shouchang
Subjects
Index of Names : China
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Literature : China
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Periods : China : People's Republic (1949-)
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Periods : China : Republic (1912-1949)
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Translator
Chronology Entries (20)
| # | Year | Text | Linked Data |
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| 1 | 1904 |
Lanmu, Cha'ersi [Lamb, Charles]. Yingguo shi ren yin bian yan yu [ID D10417]. Lin Shu's translation of Tales from Shakespeare contains twenty stories based on the Bard's plays, it was the second earliest introduction of Shakespearean works into China. Lin Shu schreibt im Vorwort : "When the Europeans criticize our country, they usually say that China is becoming increasingly weak and ill-fated because she is narrow in her view of the world, outdated in her thinking, allowing her past to dominate her present, and too fond of gods, fairies, ghosts, and demons. The young and audacious in our country are going all out for reform and change. They embrace only the new, mocking the old tradition and practice and discarding past history and heritage. There are certainly justifications in what these people are doing. But, if they think that all things Western are new to China, they are wrong, for it would be like glorifying somebody by exaggerating his merits or destroying somebody by magnifying his faults. Aren't Hardy and Shakespeare literary giants of the great civilized England ? Look at Hardy's books that I have translated ; there are taboo snakes and condemned ghosts all over the place. Shakespeare's poetry is quite comparable to that of our [great poet] Du Fu, but he often conjures up images of gods, fairies, ghosts, and demons. If the Westerners are so civilized, then maybe these works mentioned should be banned and burned so as not to interfere with scientific knowledge. As far as I know, however, Shakespeare's poetry is held in high esteem among the well bred [in the West]. There his works are not only read and recited in every household but also performed in theaters, where men and women are moved to tears as they hold each other's hands listening to every word, where no one is ever tempted to call him old-fashioned or accuse him of having a fetish about gods, fairies, ghosts, and demons. Why is this the case ? Certainly, many old things are useless today, for example, the cooking vessels and drinking cups from the Bronze Age, heavy and rust eaten. But no expense should be spared to obtain, preserve, and display, say, a distinguished suit of armor once worn by a great personage from an illustrious family. People who are affluent and not troubled by the material needs of everyday life turn their interest to the past in pursuit of new personal enrichment. This is just like what [Su] Dongpo said, that when one has had enough rich meats and fine grains he starts to miss the snails and clams [of the old days]. Running a country and educating its people are two important matters that do not depend on arts and literature. When all is well with the country and its people, good arts and literature can add more luster; but when good arts and literature is all a country has, they do not benefit either the governing or educating. That's why the Westerners make government and education their priorities, gathering wealth and building military strength. They are so rich and powerful that no outsiders dare to humiliate them. It is only then they begin to enjoy arts and literature in their leisure time. Maybe Mr. Hardy and Mr. Shakespeare are old-fashioned and using gods, fairies, ghosts, and demons too much, but the civilized Westerners are certainly not complaining. I am old, and I do not use the same language as Hardy and Shakespeare, but I am particularly fond of these two gentlemen's works. My good friend Mr. Wei Chunshu, from Renhe [Hangzhou, Zhejiang] —young, erudite, and a master of Western languages—and I teamed up to do translations at the Translation Studio of the Jingshi Daxuetang (Capital University). After Mr. Wei orally translated the works to me, I put them into [Chinese] literary form. In about two years we translated about three or four works, of which the most massive one is the Biography of Napoleon. We are about to graduate from the studio early this coming autumn. When free one night, Mr. Wei picked up some Shakespeare by chance; I started scribbling away by the night lamp. Twenty days later we have a book of Shakespeare's poetic tales. The British certainly embrace new ideas in running their country, but they do not discard Shakespeare's poetry. Now that I have translated the book of Shakespeare's poetic tales, won't those blievers in new things reject it ? There are some different versions of Shakespeare's poetic tales coming into our country. There are similarities and differences in the selections of tales as well as in the contents of actual tales themselves. My book contains bwenty tales, each of which has a new title by me for the purpose of highlighting." Tian Han schreibt : "The novels translated by Lin Qinnan [Lin Shu] were very popular then and they were also my favourite type of publication. I was really interested in Lamb's Tales from Shakespeare which was translated als 'English poet, reciting from afar on joyous occasions'. I've been unconsciously influenced by this book. I read The tempest, Hamlet and Romeo and Juliet in the originals when I grew up, but it seemed to me that Lin's way of telling these stories as fairy tales was more appealing." Li Ruru : Lin Shu adapted his Tales into Chinese. Taking the extract quoted earlier as an example, his version, compared to the original account by the Lambs, is tinged with more personal feelings evoked through the use of dialogue. His style is influenced by traditional Chinese story telling, which alternates freely and frequently between firs-person expression and third-person narration and commentary. |
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| 2 | 1916-1922 | Tian Han studiert in Japan und liest die meisten realistischen Theaterstücke von Henrik Ibsen. |
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| 3 | 1919 |
Tian, Han. Shuo Nicai de 'Bei ju zhi fa sheng' [ID D18072]. Tian Han schreibt : Obgleich Nietzsche in Anlehnung an Schopenhauer die Welt als Willenswelt konzipiert, ist der pessimistische Sinn Schopenhauers bei Nietzsche nicht zu sehen. Schopenhauer tritt für den Verzicht auf den Willen des Menschen und auf alle Ideen ein. Nietzsche dagegen bejaht positiv den Willen und akzeptiert die Daseins-Gedanken. Er behauptet, dass der Mensch auf jeden Fall kräftig und unnachgiebig weiterleben solle. Je entsetzlicher das irdische Dasein wird, einen desto stärkeren Willen soll der Mensch haben. Die Schönheit und die Kraft (das Höhere des Geistigen) des Einzelnen wird erst zur Entfaltung kommen, wenn er gegen die 'Leiden des Lebens' kämpft. Dies ist das Leben als das Entsetzliche ! Das entsetzliche Leben stellt in der Tat Quellen des Schönen und des Höheren, als Stimulans zur Entwicklung des Daseinswertes dar. Schopenhauer war der Ansicht, dass man infolge des aus Leiden bestehenden Lebens die Flucht ergreifen solle, wohingegen der Wert des Lebens für Nietzsche gerade im Leiden liegt. Die beiden Philosophen gehen von der übereinstimmenden Anerkennung des universalen Willens aus, gehen aber in zwei entgegengesetzten Richtungen weiter. Yu Longfa : Tian Han begegnet neuen westlichen Ideen, die ihm eine neue Perspektive in Hinblick auf Ästhetizismus und Individualismus eröffnen. Er hat aufgrund der Untersuchung der griechischen Tragödie dem Leben des Menschen eine ästhetische Bedeutung gegeben. He Lin : Tian Han sagt, Nietzsche habe in seiner Frühzeit enthusiatisch Richard Wagner verehrt, sei aber bald darauf in Opposition gegen ihn geraten, u.a. wegen Parsifal. Denn Nietzsche meinte, dass Parsifal eine zu starke religiöse Färbung trage und ein Rauschmittel für das Volk sei. Allerdings seien seine allgemeinen Ansichten jenem Gefühl, das Richard Wagner in seinem Ring der Nibelungen zum Ausdruck brachte, noch sehr ähnlich. In Wirklichkeit trüge Nietzsches Übermensch sehr verwandte Züge mit Siegfried – die beiden unterschieden sich im Grunde nur darin voneinander, dass ersterer Griechisch spreche. Tian Han meinte zum tragischen Geist in Nietzsches Die Geburt der Tragödie : "Je mühsamer das Menschenleben, desto notwendiger brauchen wir den Willen zur Stärkung des Landes". |
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| 4 | 1919.3 |
Tian, Han. Ping min shi ren Huiteman bai nian ji [ID D29796]. Li Xilao : Arguing that the greatness of Walt Whiman lay in the fact that he was 'but an ordinary man, an American of the new world and a child of Adam', Tian equates Whitman's Americanism with democracy and humanism. He was equally impressed by Whitman's originality in creating free verse : 'He never knows what art poetique is nor diction for the sake of rhyme'. Thus, from the spirit to the form of expression, Whitman offered what the iconoclastic noew poets had been looking for. Tian went so far as to liken the Chinese new poetry to Leaves of grass, claiming both to be a 'barbaric yawp', a 'drunk's songs'. He concluded his article : "Once Whitman's ship of democracy navigated into the Pacific, she startled the so-called dragon king of the East sea, stirring up countless demons and stormy waves alike. Now the Pacific knows no peace any more. Can the ship ever reach our East Asian continent ? That's a question. However, fellows ! Fellows of the Young china ! This ship is bound to carry us Asian people – let alone Chinese compatriots – with her. Those of us already aboard should 'steer then with good strong hand and wary eye, O! ' Long live Walt Whitman ! Long live the Young China !" Wang Ning : Tian not only introduced Whitman's life and work but places particular emphasis on his democratic thought and aesthetic ideals. Obviously, for Tian and other Chinese intellectuals and writers at the time, the greatest significance of Whitman to modern China as well as its literature lies not merely in his forman innovations, necessary as they are, but, more important, in the democratic thought inherent in his poetry, which becomes one of the two most stimulating factors. Huang Guiyou : Tian's analysis spread throughout China. Guo Moruo worte, that he had read and admired the article. Tian and Guo read and translated Whitman and began to greatly value his work. |
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| 5 | 1920 |
Tian Han, Zong Baihua und Guo Moruo tauschen in San ye ji = Kleeblatt [ID D11262] ihre Ansichten und Urteile über Goethe aus. Sie lesen Faust, Die Leiden des jungen Werther, Dichtung und Wahrheit und Die Metamorphosen der Pflanzen. Tian Han : Wir schrieben diese Briefe nicht mit der Absicht, sie zu publizieren... sie drehen sich um einen Mittelpunkt, um Goethe nämlich... und ähneln Werthers Leiden. Zong Baihua : Was die Veröffentlichung dieses Buches motivierte : Es soll ein dringendes Sozial- und Moralproblem aufwerfen : das Problem des Konflikts zwischen der freien Liebe und der durch die Eltern bestimmten Ehe. Guo Moruo : Ich denke, dass wir die Werke von Goethe so viel wie möglich übersetzen und erforschen müssen, dass seine Zeit – die Zeit des Sturm und Drang – unserer Zeit sehr ähnlich ist ! Von ihm können wir viel lernen. Konfuzius ist der Grösste, den China hervorgebracht hat, das universale chinesische Genie. Mit ihm kann nur einer verglichen werden in Europa, und das ist Goethe. |
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| 6 | 1920 | Tian Han had seen a Tokyo performance of Lady Windermere's fan by Oscar Wilde. On a meeting with Guo Moruo, he revealed his desire to introduce the work of Wilde to the Chinese public. In 1920 Tian Han thought of Wilde as primarily an aesthete. |
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| 7 | 1921-1929 | Guo Moruo, Yu Dafu, Tian Han, Zhang Ziping und andere gründen die Chuang zao she = Chuang zuo she (Creation Society) in Tokyo."Art for art's sake" upon smatterings of Goethe, Whitman, Pater and Wilde. |
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| 8 | 1921 |
[Shakespeare, William]. Hamuleite. Tian Han yi. [ID D13674]. Tian Han schreibt im Vorwort zu den ersten drei Szenen in Shao nian Zhongguo ; vol. 2, no 12 (1921) : "It is now the 3rd month of the lunar calendar and the three islands of Japan are covered in cherry blossoms. Some early flowers are already falling in profusion. I looked into the distance and thought of Uncle Mei's tomb on which the grass must have grown thickly. Today I am going to take my wife Souyu to Ueno to see the fallen blossoms there. Who would help to carry our tears to Uncle's tomb and sprinkle them over the grass ? Alas ! What else can I say ? What else can I say ? I was filled with grief and indignation when I heard the bad news. Now I feel a little better and I am diverting my feeling to the translation of Hamlet." |
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| 9 | 1921 |
[Wilde, Oscar]. Shalemei. Tian Han yi. [ID D12041]. Zhou Xiaoyi : Salomé is one of the most popular and influential foreign plays in modern Chinese literary history. The play went through seven translations in the first half of this century. Tian Han's translation is the best among the earliest ones. What fascinated Tian Han was the aesthetic art of dying shown in Salomé. For him, Salomé's fervent passion, her will to love, and her doomed death represent a certain spiritual consciousness. She never gives up, never makes compromises, and her will is unbeatable. Her kiss on the severed head of John is the shocking climax of this willfulness. In an essay on Salomé, Tian Han states : "My fellow men who love liberty and equality, you should learn from this single-minded and fearless spirit and pursue what you love bravely !" Salomé becomes a political symbol of rebellion. For Chinese artists, Salomé expressed the aesthetic principle that life should be transformed into an intensive, artistic moment. Linda Pui-ling Wang : Salomé generated different reactions and debates among the Chinese intelligentsia. That the Chinese translators translated this play properly and faithfully, as they did his plays, showed that they understood it without any problems. They borrowed and re-defined Salomé to serve and support their causes. They appeared to politicize Salomé, albeit its sensuous elements, to suit their political purposes, thereby making it more exceptional than any of Wilde's plays. Tian Han had read the English translated version with illustrations by Aubrey Beardsley. To him and those who appreciated this play, Salomé was highly poetic, romantic and sensual in every aspect, both the text itself and its illustrations. He proclaimed, The characters have the same spirit. Their eyes are fixed upon on thing. Their ears are not distracted from any voices. They seek what they love with their own lives and die for it. You people who love freedom and equality should also learn from their focused and fearless spirit so as to pursue what you love. Each character in the play was seen to show the same spirit but for a different reason : for Iokanaan it was the love for God that sustained him to resist those in authority ; for Salomé, it was Iokanaan she desperately desired. The both at the end died for what they believed, Iokanaan for the sacred love (God) and Salomé for sensual love. Tian Han called the love of Salomé 'sexual love'. Salomé was challenging a prohibited subject in the feudal Chinese society, especially the privileges of women. It concerned the freedom to love and realize an individual's physical passions and desires. The highlight was, when Salomé held up the severed head of Iokanaan and kissed his mouth. It must have been stunning and shaking for the Chinese audience to see such an iconoclastic scene. What Tian Han encouraged the readers to appreciate most was the untamed yearning for love and beauty. In his view it was important that the intellectuals and the masses in China should understand what Salomé represented was suitable for China, because the people needed to have the courage and tenacity to express themselves and persist, just like the princess who often expressed her desire to kiss Iokanaan, even at the expense of both of their lives. For Tian Han, it was a new play and appropriate to help launch China into a new era, which was particularly important to the long oppressed lower class. Salomé's outrageous behavior inspired Tian Han greatly to help the masses to pursue and stand for what was needed. In Salomé, the theme of love, the dazzling and strongly assertive characters, and the stylistic diction and expression possibly overshadow any overt political meanings. Tian Han's emphasis on Salomé's kiss was misleading. Though love is an important part in life, it is disastrous when it gets possessive and manipulative. That Salomé was selfish and used her beauty to obtain power seemed to go unnoticed by Tian Han or other writers. The 'sexual passion' of Salomé, as written by Tian Han, should not be one's moral guide and the only means to achieve freedom. Those who plow evil and those who sow trouble reap it, goes the saying. |
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| 10 | 1922 |
[Shakespeare, William]. Hamuleite. Tian Han yi. [ID D13674]. Es ist die erste vollständige chinesische Übersetzung aus dem englischen Original von Shakespeare. Er schreibt : "Hamlet is one of Shakespeare's most stirring and moving tragedies. Today we have a lot of young people of the Hamlet type. What will they think about their society after reading this great tragedy ?" Li Ruru : Tian was motivated to translate Hamlet by the greatness of the play's reputation and by his strong personal empathy with the protagonist which enabled Tian to use the work of translation to vent his own emotions, although he admitted a few years later that he had made mistakes in his translation because he had been 'too young and too ambitious' to deal with such a profound piece of English literature. Spoken drama was thus dominated for a significant period by Western models of realistic and naturalistic theater. Tian Han used his translation of Hamlet as a reaction against this trend. Yet this translation was important both as marking the first publication of an entire Shakespeare in Chinese and as a personal landmark for Tian in entering Shakespeare's world, or rather the world of theater. Shakespeare made him a playwright and a poet, and Shakespeare's influence is evident in aspects of the characters, plots and language of Tian's own plays. |
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| 11 | 1923 |
Tian, Han. Mi'erdun yu Zhongguo [ID D26345]. Tian Han schreibt : "When the storm overwhelms everything, strong weeds are desired. When the nation suffered civil unrest, loyal men are wanted. It is only natural that Wordsworth conjured Milton, because England was mired in corruption. Now allow me to recount concisely Milton's life and the relation of the man of his time. I hope that Milton's spirit, which has exerted gread remedial influences on England, might also cure today's China... to promote his idea of the three liberties, namely, religious liberty, domestic libery, and individual liberty. Domestic liberty also inclues the freedom of marriage, of education, and of expression. The three liberties are the foundation to ensure one's happiness as a member of the society. In the subsequent decade, apart from a few sonnets, Milton dedicated his pen solely to the struggle of political, religious liberty and justice. At the time, he gave up his ambition in writing a great national epic, since his aspiration for literary creativity has yielded to his concern for the troubled time !" Huang Chia-yin : In the beginning, Tian Han quoted Wordsworth's sonnet London (1802), in which the poet invoked the spirit of Milton to save England out of political corruption and chaos. He created an analogy between the political scene in Wordsworth's England and that in the early 20th-century China, stressing the severity of corruption and turmoil in both cases. Drawing on the precedence of Wordsworth's invocation, Tian suggested Milton's potential contribution as an inspiration to China for political and social reforms. Tian's declineation foregrounded Milton's participations in the political scene and left his literary career in the background. Although starting out with a literary ambition, hoping to compose a grand English heroic verse, Milton devoted himself to political writings when the time and the nation called for his contribution. In defense of 'liberty' against tyranny of the monarchy, he wrote abundantly in prose. In Tian's construction, Milton was an unselfish poet who places the nation and the people before himself. In peaceful time, he prepared himself to be a national poet and to create narrative poetry that reflected the spirit of the nation. In troubled time, he willingly sacrificed his personal goals and devoted himself to defend freedom and justice for the people. He considered liberty the foundation of human society, the basis of all happiness. Only when religious liberty, domestic liberty, and individual liberty werde proteced could one live happily and freely as a member of the society. |
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| 12 | 1929 |
Aufführung von Shalemei nach Wilde, Oscar. Salomé : drame en un acte. (Paris : Librairie de l'art indépendant, 1893). = Salome : a tragedy in one act. (London : E. Mathews & John Lane ; Boston : Copeland & Day, 1894). [Uraufführung Théâtre de l'oeuvre, Paris, 1896] in der Übersetzung von Tian Han in Nanjing und Shanghai. Tian Han schreibt : "My translation of Salomé was successful when it was published in 1921. It has been seven or eight years now and it hasn't yet performed. And now we just have found very good actors playing the roles of Iokanaan, Salomé and Herodias. Rebelling against the standard social attitude is most obvious in this play. This is why we have chosen to perform this play." Tian Han added social significance to the play in order to defend his aim of staging it, which was to him an artistic way to unite different classes together for a noble and national purpose. Even though he thought Salomé was not about individualism, his interpretation was indeed individualistic and questionable. Paradoxically, he was not so much politicizing the play as romanticizing it further. His choice of Salomé betrayed a strong sentiment undercurrent, albeit his claims of social interests. When the play was performed, the power of the socially-minded intellectuals was already quite strong. Shi Jihan described the first night of the performance : "There are only three hundred seats in the theatre, yet the people who came to see the play numbered more than four hundred.” Salomé was acclaimed by the audience, who were fascinated by the emotional qualities of the female protagonist. The play left such an impression that it was soon imitated by several Chinese playwrights." Xu, Zhimo. Guan yu nü zi. In : Xin yue yue kan ; vol. 2, no 8 (Oct. 1929). Salomé incontestably presented a different, daring and outspoken image of woman for many Chinese intellectuals. Xi Zhimo expressed the tension between personal, artistic expression and social boundary as he recalled his impression on Yu Shan, the lady who played Salomé. One night, during the performance, when Yu Shan was about to say, 'I will kiss thy mouth, Iokanaan', she caught a glimpse of her mother sitting in the front row and staring angrily at her. Instead of saying the line with might and passion, she was lowering her voice and slurring over the line. Xu commented that though in reality there were many objective obstacles preventing a 'new' or 'modern' woman to realize herself, the psychological barrier was less visible yet more destructive. The talented actress could have played her role more powerfully and dramatically but for the angry gaze of her mother, which represented a tacit censorship. That was the moment when the actress yielded to traditions at the expense of artistic expression. Salomé was then not so much a theatrical challenge as a psychological one since she embodied anti-traditional feminine qualities. To be a 'new' women, in the view of Xu, she needed to behave with psychological abandonment and be thoroughly courageous and persistent. Linda Pui-ling Wang : In the interest of reading Salomé in the Chinese context, the Chinese writers were looking for a psychological outlet and model which spoke to their personal needs but not the genuine moral and humanitarian aspects. The Chinese writers who were more romantic and sentimental even saw Salomé as an essential resolution to the class problems in society. Salomé undeniably excited and inspired the young Chinese people who had personal and emotional dreams, albeit a small and 'selected' group. The play provided a romantic appeal to bourgeois intellectuals such as Tian Han, Xu Zhimo and Ye Lingfeng, who could afford to see the play and greatly praised the play, but mainly its aesthetic aspects. The Chinese writers were generally fascinated with Salomé who certainly looked radical, nonconformist, modern and exemplified a new mode of thinking and behavior. As such, there was more revision than imitation in terms of meaning and goal. The femme fatale was then turned into a super heroine. The Chinese writers did not only discuss the play's literariness but also its social redefinitions affirms its significance to be a special product of that age. Salomé was a medium through which the Chinese writers voiced their romantic outcry and accumulated for themselves discourses in accordance to their desires and causes. Tian Han presented a more social and political defence for it. In the discursive labyrinth of Salomé, there were decadence, entertainment and fascination for an exotic femme fatale and a modern city as a surrogate oryal court in which the Chinese intellectuals indulged in their own pursuit of romantic dreams. |
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| 13 | 1936 |
Tian, Han. Tian Han san wen ji [ID D26272]. Brief an Guo Moruo. Tian Han erwähnt einige Theaterstücke von Henrik Ibsen. He Chengzhou : Tian Han reads Ibsen and has an independent view of him as few others did. He is attracted to both the realistic and the romantic aspects of Ibsen. And his understanding of Ibsen as a dramatist is not limited to the thematic isssues, but includes the dramatic techniques and structure as well. His plays clearly indicate how much he is indebted to Ibsen ; while at the same time they also show just how creative and original a playwright Tian Han is. |
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| 14 | 1937 |
Aufführung von Luomi'ou yu Zhuliye [ID D14237] = Romeo and Juliet von William Shakespeare in der Übersetzung von Tian Han durch die Shanghai ye yu shi yan ju tuan (Shanghai Amateur Experimental Drama Company) unter der Regie von Zhang Min. Zhao Dan spielt Romeo und Yu Peishan Juliet. Tang, Wen. Luomiou yu Zhuliye : canguan cai pai. In : Da gong bao zeng kan ; 8 Juni (1937). Er schreibt : "Everything on the stage is black, and immediately you feel the horror and the sadness of death. The set is made from a dozen platforms of different sizes in semi-circular shapes. Along both sides of the stage, there are a chancel, a platform for Juliet's body and hug staircases. Lighting is provided by candles. Accompanied by heartbreaking music, the hero and heroine – one dies and the other comes to life, and then one comes to life and the other dies. How sad ! How touching ! This play will make audiences shed countless tears !" Li Ruru : The production was of importance in at least one sense : during its run, many reviews and critical analyses were carried in newspapers, journals and magazines. This production initiated a link between translation, performance and criticism in the history of the 'Shakespeare enterprise' in China It was a production in which Chinese practitioners attempted to implement Constantin Stanislavski's methods in 'hua ju' acting. As a theatrical form based on the established Western theatre with influences taken from Japanese 'shingeki', it was keen to 'grab' anything from abroad, no matter if it was from 'xi yang' (Western – foreign – Europe and America) or from 'dong yang' (Eastern foreign – Japan). |
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| 15 | 1938 |
Aufführung von Zhu qing = The tempering of love = Romeo and Juliet = 铸情 von William Shakespeare in der Adaptation von Xing Yunfei durch die Shanghai xin sheng hua ju yan jiu she (Shanghai New Life Spoken Drama Research Society) unter der Regie von Xing Yunfei. Li Ruru : The adapted script was a mixture of Tian Han's translation, dialogue from the American film produced by MGM, and Xu Zhimo's verse translation of the balcony scene. |
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| 16 | 1938.04.21 | W.H. Auden and Christopher Isherwood attended a party with a number of Hankou intellectuals including the poet Mu Mutian who presented them with some verses written in their honor and Tian Shouchang [Tian Han]. Ma Tongna interviewed them for the newspaper Da gong bao. |
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| 17 | 1956 |
Tian, Han. Xiang xian shi zu yi xi ju da shi men zai xue xi. In : Guang ming ri bao ; July 27 (1956). = Bernard Shaw : master of realist drama. [ID D27921]. [Ansprache zum 100jährigen Geburtstag von George Bernard Shaw]. Shaw is one of the great realist writers since Shakespeare. The mantle of Ibsen has fallen upon him, and he has continued the Ibsen tradition and developed it better than anyone else. He has been called the present-day Shakespeare. And after he exposed the real aspect of capitalism in his 'unpleasant' plays, his enemies held him up for castigation as 'that hateful Ibsenite'. Shaw himself was a writer blessed with longevity like his own 'Methuselah'. His natural life covered almost a century while his creative life was spread over seventy years. Thus he was an eye-witness of the many developments in Europe since the turn of the last century. Owing to his having read Marx's Kapital in early life, he cast a penetrating gaze upon these developments and the social reasons behind them. Shaw possessed a many-sided talent, especially keen on the satirical side, and in addition, he accepted the vivid and lively form of the drama as developed by the English people, with the result that his satirical plays are inimitable. When he died in 1950 people deeply regretted the immense loss of the 'most courageous thinker in Europe' – to use Gorki's phrase. He left with us over fifty plays, several novels, and at least a hundred articles on political and artistic subjects. It cannot be said, in this enormous body of work covering a whole lifetime, that every item shines like a jewel, but without any doubt whatever, the jewels form the main part. As far as his political thought is concerned, he has trod the tortuous path of reform which has resulted in certain shortcomings in the political ideas expressed in his work. But just as Lenin has pointed out, Shaw was 'a good man fallen among Fabians'. His intensive feeling for justice, and his correct creative method often straightened out his political prejudices in the course of creation. Alick West's contention that often the most penetrating passages of Shaw are directly contrary to Fabianism is a perfectly correct one. Students of Ibsen have admired the dogged persistence of this old dramatist in North Europe in his study of human character. Shaw also was this kind of person. Although he has been called a 'laughing artist' and a 'great humorist', his attitude towards humanity is serious from beginning to end. He never gave an easy assent before he had thought through a problem. But once he grasped hold of the truth, he upheld it with great determination, with the ferocious courage of a lion or a tiger throwing an intense light upon it. Taking his attitude toward war as an instance, Shaw was always a hater of war and a lover of peace. In 1914, when the First Imperialist War broke out, he disapproved so much of the insanity of the bourgeois instigators of the war, that he placed his name with Henri Barbusse, Romain Rolland, and other progressive intellectuals of Europe to a protest against the war. In his pamphlet 'Common sense about the war' he called upon the soldiers of both sides to shoot their officers and go home to farm the land, while those who returned to the cities should start a revolution. This naturally earned him the suspicion and hatred of the warmongers, so that he remained neglected for a comparatively long period, causing people even to make the joke that 'Bernard Shaw was growing old'. It was not until the appearance of Heartbreak House, followed by a whole series of new plays, that these rumors ceased. Now let us refer to Shaw's view of social reform. Although he admitted that Marx had 'opened his eyes', nevertheless he preferred reform and the Fabian Society. This is the reason why, in many of his works, after giving a profound exposure of the evils of society, he fails to indicate an active way out. In the early days of his creative life, when strikes followed one after another in England, and class antagonisms were becoming intense, he wrote a whole series of 'unpleasant' plays. When class antagonisms slackened for the time being, his barbs also were less stinging, and he produced 'pleasant' plays. However, such a perspicacious and truly responsible writer could not ignore the fact that events were not developing in a 'pleasant' fashion but becoming daily more serious ; and he could hardly fail to discover that the Fabian movement was wasting its efforts. But as he still did not believe in the great strength of the revolutionary class, and did not see clearly yet the proper path of revolution, he landed up in denying Fabianism on the one hand and the revolutionary trade union movement on the other, considering that both were fundamentally useless. (Shaw's Revolutionist's handbook 1816). It was not until after the success of the Russian October Revolution, and the appearance of the success of the Soviet Socialist Republic, that the depression of the old playwright became dispersed. So he ended up by saying, “We are socialists. Russia's viewpoint is also ours”. Afterwards he kept firmly to this viewpoint and never wavered when the Soviet Union was attacked by the Nazi power of Germany in 1941 and her fate was in the balance. In 1933, at the time of Shaw's visit to China, the liberation struggle of the Chinese people was in the midst of an extremely difficult period. Japanese imperialism, after the invasion of the Northeast lasting from Sept. 18, 1931, was again intensifying its aggression against North China, while the reactionary government of the Guomindang was compromising with and surrendering to the invader on the one hand, and persecuting and suppressing revolutionaries on the other, and England and the United States were waiting for Japan to attack China. At such a time it was difficult for Shaw in his visit to China to give satisfaction to all parties, and in fact, he did not do so. In one of his articles, Lu Xun pointed out the different reactions to Ibsen and Bernard Shaw of the so-called 'upper classes' and 'lower classes'. He said : “It goes without saying the people who go to their plays are mostly ladies and gentlemen. Ladies and gentleman belong to a species that is full of 'amour propre'. Although Ibsen puts them on the stage and lays some of their secrets bare, he doesn't pass judgment on them, but says to them calmly 'Think it over. What is it all about ? Although the dignity of the ladies and gentlemen is somewhat shaken, they are still able to swagger home ; and although they are not very happy in their musings when they go home, they are still able to preserva a bold exterior… Shaw, however, is not like this. When he puts them on the stage, he tears the masks off their faces and the expensive clothes from their bodies, and ends by dragging them by the ears, pointing at them before everyone and saying, 'look, these are parasites !' He doesn't give them time to answer back, or a loophole of escape. Then the only people left laughing are the lower classes who are not guilty of the vices he holds up for castigation. In this Shaw approaches the lower classes, and in consequence, there is a distance between him and the upper classes.” Shaw said in a speech to the students of Hong Kong University : “If at twenty you don't join the Reds in their revolution, you'll become fossils at fifty ; if you become red revolutionists at twenty, the chances are you won't get left behind at forty”. This is the sort of thing that is thoroughly disliked by reactionary rulers, and so it was picked upon by the bourgeois press of Shanghai for attack. During the few hours he was in Shanghai, Shaw saw the people he wanted to see, such as Madame Sun, and Lu Xun. Nevertheless, Lu Xun said : “I didn't ask a single question of Shaw ; and Shaw didn't ask a single question of me. We lapsed into silence”. Shaw, however, said a few words to the newspaper reporters that besieged him, and what he said was distorted in both the Chinese and foreign papers the next day. For instance, on the subject of the Chinese government, the Shaw of the English papers said : “The Chinese should choose those they respect most to be their rulers” ; the Shaw of the Japanese papers said : “There are several governments in China” ; the Shaw of the Chinese papers said : “A good government is never popular with the people”. This led Lu Xun to say : “Shaw, in this instance, was not being satirical but a mirror”. He reflected the real facial expressions of the imperialists and their jackals. An article produced during Shaw's visit to China that is worth paying attention to is his message to China and the Chinese people given through the Shi shi xin bao. [Siehe 1933 : Shaw, George Bernard. A message to the Chinese people]. These words of Shaw have the ring of absolute sincerity. Under the leadership of the Chinese Communist Party and Chairman Mao [Zedong], the Chinese people are uniting together, and after escaping from national crisis and having driven away the Guomindang reactionary clique, we are actually in the process of adopting the beneficial aspects of modern 'civilization' and rejecting and weeding out the harmful aspects according to our own benefit, and building a socialist, industrialized New China. In regard to many questions, Shaw is not only a satirist, but also a prophet. Regarding the Soviet Union, regarding, China, regarding others that have suffered or are suffering oppression, a great deal of what he said has proved perfectly correct. The first introduction of Shaw to China was probably through Pan Jiaxun's Lou xiang (Mean alleys) which was Shaw's virgin effort, Widowers' Houses. It was easy for this play that exposed the cruelty of capitalist exploitation and took up the cudgels for the poor, to draw forth a sympathetic response from the Chinese people of that time, who were also in distressful circumstances. Pan Jiaxun followed up his first translation with Mrs. Warren's profession, and the following plays appeared translated by other people : The philanderer, Arms and the man, The devil's disciple, Candida, St. Joan, Back to Methuselah and Pygmalion. Of these plays, Mrs. Warren's profession, Arms and the man, and Pygmalion have been produced on the stage at different times in various places in China. If Widowers' houses was influenced by Ibsen, Mrs. Warren's profession is an answer to Ibsen's Doll's house. Ibsen himself threw light on Nora's leaving through Madame Helseth's husband saying to her in The lady from the sea : “I admit you are absolutely free. You can choose for yourself, and you are responsible for yourself”. The result was that Madame Helseth did not leave her husband. But the economic rights of the wife were not yet settled, so Shaw suggests a different solution for Vivie, the new woman, in her determined and uncompromising struggle to leave her brothel-keeper mother and that rotten parasite who lived on the income derived from capital invested in houses of prostitution, Sir George Crofts ; and that was an independent existence working at a profession. This is a development on A doll's house and The lady from the sea, even though in capitalist society, the problem of the professional woman is not an easy one to solve. Ibsen and Bernard Shaw have many similarities both in their persons and in their art. Their artistic creation swept away a great deal of the prevailing decadence in the European theatre and made dramatic literature a weapon for criticizing society and revealing human life, and turned the theatre into what Bernard Shaw called 'a factory of ideas'. They were heirs to the notable tradition of their own countries and the whole of Europe, and in their turn, have developed it and exercised a strong influence on those who followed them. They both have a serious, severe, unflinching attitude towards artistic creation. Ibsen, for instance, wrote six plays in the period from A doll's house to The lady from the sea on the same central problem, probing it to its depths and bringing it into relief. And Shaw also, in the long period of his creative life, never stopped searching for the truth, for the real qualities of society. He has said that each of his plays marked a development of his thought. Both of them were deeply patriotic, with a warm love for humanity, and very much concerned for the fate of the human species. Both gave their support to all movements with justice on their side, and were staunch, unbending guardians of democracy and pace, in their hatred of war and all its horrors. Where th truth was, there they were to be found, supporting it without fear or favour. Their works are not only loved by the Chinese people but have had an actual influence on society. Their attitude in pursuit of truth and in upholding it will be forever an example to us. The more we study their works, the more we realize that we have not learnt enough from them, and that their plays should be more frequently staged. In order to establish Chinese realism on a firm basis, we should study their works, act them, and attend performances of their plays more industriously than ever. On this day, when we are holding a festival in memory of these two great writers, we are full of boundless optimism in regard to the development of the progressive dramatic culture of the whole world. In the past, progressive drama has brought wisdom and courage to the whole of humanity, and educated it in its struggle for liberation. Treading in the footsteps of Ibsen and Shaw, it will in the future bring more wisdom, more courage, and more noble feelings to aid the people of the present day and the future to build an even better life in an even better world. |
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| 18 | 1959 |
Gedenkfeier zum 200. Geburtstag von Friedrich von Schiller. Erste Aufführung von Kabale und Liebe in der Übersetzung von Liao Fushu [ID D11663]. Zwei Szenen davon erscheinen im Fernsehen in Beijing. Tian Han hält die Festrede [ID D11674]. Lao She und Liao Fushu nehmen daran teil. Zhang Yushu schreibt : Der Grund für den Erfolg dieser Aufführung liegt wohl darin, dass sich die Zuschauer, die vor ein paar Jahren noch das gleiche Schicksal von Ferdinand und Luise teilten und von dem Feudalismus wie von einem gigantischen Berg unterdrückt wurden, durch den Inhalt dieses bürgerlichen Trauerspiels sehr angesprochen fühlten. Sie vergossen Tränen der Sympathie für dieses unglückliche Liebespaar, das um persönliches Glück einen verzweifelten Kampf gegen die Tyrannei führte und schliesslich einer Intrige des übermächtigen Feindes erliegen musste. Sowohl das Motiv als auch die Handlung lagen dem chinesischen Publikum so nah, dass es kaum auf den Gedanken hätte kommen können, es handle sich um eine traurige Geschichte, die sich nicht in China, auch nicht in der Gegenwart abspielt, sondern in einem Land, das über zehntausend Kilometer weit von China entfernt im Abendland liegt, und in einer Zeit, die fas anderhalb Jahrhunderte zurücklag. |
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| 19 | 1959 |
Tian Han gibt die Anregung zur Einführung des Theaters von Bertolt Brecht in China. Die erste Inszenierung und Aufführung des Shanghai People's Art Theatre ist Mutter Courage und ihre Kinder in der Übersetzung von Sun Fengcheng [ID D13044] und unter der Leitung von Huang Zuolin. Aber dieses Drama, das sich mit der Sinnlosigkeit und Grausamkeit des Krieges beschäftigt, erwies sich als Misserfolg. Huang Zuolin schreibt : "Mutter Courage war die grösste Niederlage unter meinen 88 Inszenierungen. Ich schreibe das der Verfremdung zu, die das Publikum so entfremdete, dass es das Theater verliess." Ding Na : Der antikriegerische Inhalt passt nicht in die damalige Situation Chinas. Wenn man in China über Krieg diskutierte, musste zuerst eine Unterscheidung zwischen Aggressionskrieg und Verteidigungskrieg getroffen werden. So kann man sich z.B. ohne den Befreiungskrieg die Gründung der VR China gar nicht vorstellen. Ausserdam wussten die chinesischen Zuschauer wenig vom historischen Hintergrund des 30jährigen Krieges. Ebenso fremd waren ihnen die konkreten historischen Bedingungen, unter welchen Brecht das Stück geschrieben hatte. Selbst die meisten Schasupieler und Dramatiker hatten damals keine Ahnung von der Theatertheorie Brechts. Dan Ni, die Darstellerin der Mutter Courage gab zu, dass sie und andere oft den Inhalt und Sinn des Textes nicht verstanden hätten. Sun Fencheng : Diese Aufführung hat wider allen Erwarten nicht den erhofften Erfolg erziehlt, nicht, weil die Schauspieler gewöhnliche Kleider der armen Leute trugen, während das chinesische Publikum farbenprächtiges und exotisches Kostüm von der Aufführung erwartete. Grund war vielmehr die Thematik, die dem chinesischen Publikum fremd erschien. Es könnte noch ein anderer Grund für den Misserfolg angegeben werden : Die breiten Massen der Zuschauer hatten noch zu wenig Verständnis für Brecht, dessen Dramentheorie und dessen Theaterstücke sie befremdeten. Trotzdem war die Aufführung nicht vergebliche Mühe. Sie hatte die Alleinherrschaft des Systems von Stanislawski über das chinesische Theater gebrochen und die Neugierde und das Interesse erweckt, so dass sich viele Fachleute seitdem intensiv damit beschäftigen. |
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| 20 | 1961 |
Aufführung von Hei nu hen = "Sorrows of the black slaves" = Uncle Tom's cabin von Harriet Beecher Stowe = 黑奴恨 in der Adaptation von Ouyang Yuqian unter der Regie von Sun Weishi, zum 100. Geburtstag der Publikation des Buches, in Beijing und Guizhou. Tian Han schreibt : “The dramatization is not just to commemorate the rise of the new drama movement. It is also a significant support to the liberation movement of the black people in Africa and in the United States. The play is a powerful exposure of the United States. It is a powerful exposure of the reactionary nature of U.S. imperialism.” Tian Han commends Mrs. Stowe for her success and criticizes her for placing too much hope in Christianity. He then compliments Ouyang Yuqian for looking at slavery from the perspective of 'socialist ideology' by creating a most touching character in Tom and 'endowing him with class consciousness at the time of death'. |
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Tian, Han. Shuo Nicai de 'Bei ju zhi fa sheng'. In : Shao nian Zhongguo ; vol. 1, no 3 (1919). [Versuch zu Geburt der Tragödie von Friedrich Nietzsche]. 說尼采的悲劇之發生 |
Publication / Nie7 | |
| 2 | 1919 | Tian, Han. Ping min shi ren Huiteman bai nian ji. In : Shao nian Zhongguo ; vol. 1, no 1 (1919). [Commemorating the centenary of the birth of Walt Whitman : the poet of the common people]. | Publication / WhiW23 |
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| 3 | 1920 |
Tian, Han ; Zong, Baihua ; Guo, Moruo. San ye ji = Kleeblatt. (Shanghai : Ya dong tu shu guan, 1920). [Korrespondenzen der drei Freunde, in denen sie ihre hohe Meinung von Goethe vertreten]. 三葉集 |
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| 5 | 1920 |
Tian, Han. Chi le zhi guo yi ho de hua. In : Shao nian shi jie ; Vol. 1, no 1 (Aug. 1920). [Artikel über John Milton]. [Darin enthalten Übersetzung kleiner Passagen aus Paradise lost]. 吃了智果以後的話 |
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| 6 | 1921 |
[Wilde, Oscar]. Shalemei. Tian Han yi. (Shanghai : Zhonghua shu ju, 1921). Übersetzung von Wilde, Oscar. Salomé : drame en un acte. (Paris : Librairie de l'art indépendant, 1893). = Salome : a tragedy in one act. (London : E. Mathews & John Lane ; Boston : Copeland & Day, 1894). [Uraufführung Théâtre de l'oeuvre, Paris 1896]. 沙樂美 |
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| 7 | 1922 |
[Shakespeare, William]. Hamuleite. Shashibiya zhu ; Tian Han yi. (Shanghai : Zhong hua shu ju, 1922). (Shao nian Zhongguo xue hui cong shu. Sha weng jie zuo ji ; 1). Übersetzung von Shakespeare, William. The tragedy of Hamlet, Prince of Denmark. (London : Nicholas Ling and John Trundell, 1603). [Die ersten drei Szenen erscheinen in Shao nian Zhongguo ; vol. 2, no 12 (1921)]. 哈姆雷特 |
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| 8 | 1923 |
Tian, Han. Mi'erdun yu Zhongguo. In : Shao nian Zhongguo ; vol. 4, no 5 (Juli 1923). [John Milton und China]. 蜜爾敦與中國 |
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| 9 | 1924 |
[Shakespeare, William]. Luomi'ou yu Zhuliye. Shashibiya zhu ; Tian Han yi. (Shanghai : Zhonghua shu ju, 1924). (Sha weng jie zuo ji ; 6). Übersetzung von Shakespeare, William. An excellent conceited tragedie of Romeo and Juliet. (London : John Danter, 1597). = The most excellent and lamentable tragedie of Romeo and Juliet. Newly corrected, augmented, and amended. (London : Thomas Creede, 1599). [Uraufführung 1595 in London]. 羅蜜歐與朱麗葉 |
Publication / Shak3 |
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| 10 | 1929 | Tian, Han. Shashibiya ju yan chu zhi bian qian. In : Nan guo yue kan ; no 3 (July 1929). [Changes in staging Shakespeare]. | Publication / Shak325 | |
| 11 | 1929 | Tian, Han. [The evolution of Shakespearean theatre in the West]. In : Nan guo yue kan ; vol. 4 (1929). | Publication / Shak326 | |
| 12 | 1936 |
Tian, Han. Tian Han san wen ji. (Shanghai : Jin dai shu dian, 1936). [Enthält Eintragungen über Henrik Ibsen]. 田漢散文集 |
Publication / Ibs113 | |
| 13 | 1936 |
[Tolstoy, Leo]. Fu huo : liu mu ju. Tuo'ersitai yuan zhu ; Tian Han bian ju. (Shanghai : Shanghai za zhi gong si, 1936). (Wen xue chuang zao cong shu). Übersetzung von Tolstoy, Leo. Voskresenie : roman. (Moskva : Pol'za, 1899). = Tolstoy, Leo. Resurrection : a novel. = The awakening. (New York, N.Y. : Grosset & Dunlap, 1899). = Résurrection. (Paris : E. Flammarion, 1900). 复活 : 六幕剧 |
Publication / Tol50 | |
| 14 | 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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| 15 | 1957 | T'ien Han [Tian, Han]. The white snake : a Peking opera. Translated by Yang Hsien-yi [Yang Xianyi] and Gladys Yang. (Peking : Foreign Languages Press, 1957). | Publication / Yan75 | |
| 16 | 1957 |
Tien, Han [Tian, Han]. Bernard Shaw : master of realist drama. In : Bulletin / Shaw Society of America ; vol. 2, no 3 (Sept. 1957). http://www.jstor.org/stable/40681499. |
Publication / Shaw11 | |
| 17 | 1959 | Tian, Han. Xile, min zhu yu min zu zi you de zhan shi. In : Xi ju bao ; 22 (1959). [Schiller, Kämpfer für Demokratie und Nationalfreiheit : Festrede]. | Publication / Schi29 |
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| 18 | 1961 |
Tian, Han. Kuan Han-ch'ing. (Beijing : Foreign Languages Press, 1961). Übersetzung von Tian, Han. Guan Hanqing. (Beijing : Zhongguo xi ju chu ban she, 1958). 关汉卿 |
Publication / TianH1 |
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| 19 | 1980 |
Moderne Stücke aus China. Hrsg. von Bernd Eberstein. (Frankfurt a.M. : Suhrkamp, 1980). Enthält : [Das Gewitter von Cao Yu, Der Pekingmensch von Cao Yu, Rückkehr nach Süden von Tian Han, Der Schlächter von Xiong Foxi, Das Teehaus von Lao She]. |
Publication / EberB1 | |
| 20 | 1983 |
Twentieth-century Chinese drama : an anthology. Ed. by Edward M. Gunn. (Bloomington, Ind. : Indiana University Press, 1983). (Chinese literature in transition). [Enthält] : Hu, Shi. The greatest event in life. = Zhong shen da shi (1919). Hong, Shen. Yama Chao = Zhao Yanwang (1922). Ding Xilin. Oppression. = Ya po (1956). Ouyang, Yujian. P'an Chin-lien. = Pan Jinlian (1928). Xia, Yan. Under Shanghai eaves. = Shanghai wu yan xia (1937). Chen, Baichen. Men and women in wild times. = Lusan shi nan nü (1939). Li, Jianwu. Springtime. = Qing chun (1944). Yang, Jiang. Windswept blossoms. = Feng xu (1945-1946). Yang, Lüfang. Cuckoo sings again. = Bu gu niao you jiao le (1957). Tian, Han. Kuang Han-ch'ing = Guang Hanqing (1958-1961). Wu, Han. Hai Jui dismissed from office. = Hai Rui ba guan (1961). Weng, Ouhong ; A, Jia. The red lantern. = Hong deng ji (1964). Zong, Fuxian. In a land of silence. = Yu wu sheng chu (1978). Zhou, Weibo. The artillery commander's son. Sha, Yexin. If I were real. = Jia ru wo shi zhen de (1979). Yang, Mu. Wu feng. =Wu feng (1979). |
Publication / Gunn2 |
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| 21 | 1984 |
Hsiao, Ch'ien [Xiao, Qian]. Semolina and others. (Hong Kong : Joint Publ. Co., 1984). Übersetzung von Xiao, Qian. Zhen zhu mi ji qi ta. [Enhält] : Semolina. The spinners of silk. The conversion. Scenes from the Yentang Mountains. The ramshackle car. Shanghai. Ibsen in China. The dragonbeards vs the blueprints. [Enthält Übersetzungen] : Kuo, Mo-jo [Guo Moruo]. Wang Zhaojun. (1923). In : Chuang zao yue kan ; vol. 2, no 2 (1924). Tien, Han [Tian, Han]. The tragedy on the lake. = Hu shang de bei ju (1928). Hsiung-Fo-his [Xiong, Foxi]. The artist. (1928). In : Foxi xi ju. (Shanghai : Shang wu yin xhu guan, 1938). |
Publication / XiaQ2 | |
| 22 | 2009 |
The Columbia anthology of modern Chinese drama. Ed. by Xiaomei Chen. (New York, N.Y. : Columbia University Press, 2009). [Enthält] : Hu, Shi. The greatest event in life. = Zhong shen da shi (1919). Hong, Shen. Ya ma chao. = Zhao yan wang (1922). Tian, Han. The night a tiger was captured. = Huo hu zhi yi ye (1921). Ouyang, Yuqian. After returning home. = Hui jia zhi hou (1922). Ding, Xilin. The wasp. = Yi zhi ma feng (1923). Ding, Xilin. Oppression. = Ya po (1926). Bai, Wei. Breaking out of the pagoda. = Da chu you ling ta (1928). Cao, Yu. Thunderstorm. = Lei yu (1933). Li, Jianwu. It's only spring. = Zhe bu guo shi chun tian (1934). Xia, Yan. Under Shanghai eaves. = Shanghai wu yan xia (1937). Wu, Zuguang. Returning from a stormy night. = Feng xue ye gui ren (1942).l Lao, She. Teahouse. = Cha guan (1958). Tian, Han. Guan Hanqing. = Guan Hanqing (1958-1961). Chen, Yun. The young generation. = Nian qing de yi dai (1963). Weng, Ouhong ; A, Jia. The red lantern. = Hong deng ji (1964). Gao, Xingjian. Bus stop. = Che zhan (1983). Li, Longyun. Man and the wilderness. = Huang yuan yu ren (1988). Yang, Limin. Geologists. = Di zhi shi (1995). Shen, Lin ; Huang Jisu, Zhang, Guangtian. Che Guevara. = Qie Gewala (2000). Lai, Shengchuan. Secret love in peach blossom land. = An lian tao hua yuan (1986). Chan, Anthony. Metamorphosis in the moonlight under the stars. = Xing guang xia de tui bian (1986). Chan, Joanna. Grown ourselves with roses. = Hua jin gao lou (1988). |
Publication / ChenXi1 |
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Secondary Literature (2)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1972 | Henjes, Irmtraud [Fessen-Henjes, Irmtraud]. Antifeudale und antiimperialistische Aspekte des künstlerischen Schaffens von Cao Yu, Tian Han und Lao She : dargestellt anhand ihrer dramatischen Werke aus der Zeit des Widerstands gegen die japanische Aggression (1931 - 1945) in China. Diss. Humboldt-Universität, 1972). | Publication / CaoY6 | |
| 2 | 2005 | Lin, Jia. Friedrich Schillers Rezeption in China : exemplifiziert an Tian Han und Guo Moruo. In : Literaturstrasse ; Bd. 6 (2005). | Publication / LinJ1 |
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