Li, Xishuang
(Tianjin 1880-1942 Quanzhou, Fujian) : Buddhistischer Mönch, Maler, Musiker, Dramatiker, Kalligraph, Dichter
Name Alternative(s)
Hongyi
Li, Shutong
Hong, Yi
Subjects
Art : General
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Index of Names : China
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Literature : China
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Periods : China : Qing (1644-1911)
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Periods : China : Republic (1912-1949)
Chronology Entries (3)
| # | Year | Text | Linked Data |
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| 1 | 1906 | Gründung der Chun liu she (Spring Willow Society) durch Li Xishuang in Tokyo. Sie führen westliche Theaterstücke in chinesischer Übersetzung auf. Es ist eine der frühesten und wichtigsten Theatergruppen für das Sprechtheater (hua ju). Zu dieser Gruppe gehören die Dramatiker Ouyang Yuqian, Ren Tianzhi und Lu Jingruo. Ihre berühmtesten Aufführungen waren Hei nu yu tian lu, eine Bühnenfassung von Uncle Tom's cabin von Harriet Beecher Stowe [ID D10429], Cha hua nü, Die Kameliendame von Alexandre Dumas fils [ID D8953] und Re lei = Re xie, La Tosca : pièce en cinq actes von Victorien Sardou. In : L'illustration théâtrale ; no 121 (1909). |
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| 2 | 1907 |
Aufführung von Hei nu yu tian lu = "Black slave's cry to heaven" von Zeng Xiaogu nach Hei nu yu tian lu in der Übersetzung von Lin Shu und Wei Yi [ID D10429], unter der Regie von Li Shutong [Li Xishuang] und Ouyang Yuqian, durch chinesische Studenten der Chun liu she (Spring Willow Society) im Hongô Theater in Tokyo, June 1-2, 1907. Adaptation von Uncle Tom's cabin von Harriet Beecher Stowe. Li Shutong played Amelia Shelby, her husband was played by Huang Nannan and George Harris was played by Xie Kangbai. Ouyang Yuqian played a slave girl. Song and dance were improperly intruded. A visitor from China sang an aria from a Beijing opera. The play was divided into five acts. This, for a Chinese audience accustomed to an unbroken action upon the stage, was an innovation which the new drama companies of the early period found hard to sustain. The whole play, in preparation at least, was in spoken dialogue from a completely written text, a feature which became impossible to maintain in the circumstances in which the Spring Willow Society was forced to play in Shanghai. This first version of the story was used to reflect the abjection of China in her anticolonial struggle at the beginning of the twentieth century. The play was the beginning of the Chinese spoken drama hua ju. The most striking differences between Stowe's novel and the adaption are the absence of Christian religion in the Chinese play and the ending. Whereas the novel ends with the emancipation of the slaves by the character George Shelby, in Zeng's play the slaves liberate themselves. This play was unlike previous Chinese xi qu in excluding dance and song and disallowing recitation, soliloquies, or asides. The theme of oppression and liberation had an obvious appeal for the young Chinese students in Tokyo. Their dramatized version completely removed the Christian emphasis of Stowe's book and made the theme a struggle between the negro slaves and their oppressors, the slave-dealers, with final victory for the slaves in their slaughter of the slave-dealers. In the programme of the play is declared : The Aims of the Spring Willow Society's 1907 Grand Performance. "The greatest task of artistic performance is in enlightenment. Therefore this society's creative work begins with this. It has established a special section to study old and new drama. It hopes to be the leader of the reform of our country's world of the arts." Ouyang Yuqian, who participated in the performance recalled : "The play was divided into five acts and consisted totally of dialogue, with no recitation, no chorus, no soliloquy or asides. It was rendered in the typical form of the drama. Although the play was adapted from a novel, it should be considered the first created script of Chinese drama because there had never existed before in China a play in the form of divided acts." Zhang Geng (1954) described the performance "as a most memorable performance in the history of Chinese drama. It was the first performance presented by the Chun liu she and was fairly successful in content, form, and technique. It made a deep impression on the audience and had a great effect on the development of drama". Cao Xiaoqiao (1987) : "Although only male actors performed in the play, the use of stage settings and the division of acts were breakthroughs as compared with traditional operas." |
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| 3 | 1907 | Aufführung eines Aktes von Cha hua nü yi [ID D23857] nach der Übersetzung von Lin Shu und Wang Shouchang, Adaptation von La dame aux camélias von Alexandre Dumas fils, durch die Spring Willow Society, unter der Regie von Fujisawa Asajirô mit Li Shutong als Marguerite und Zeng Xiaogu als Armand's father, im Tokyo YMCA in Kanda-mitoshirocho. |
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