Cao, Yu
(Tianjin 1910-1996 Beijing) : Dramatiker, Schriftsteller
Name Alternative(s)
Wan, Jiabao
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)
Chronology Entries (18)
| # | Year | Text | Linked Data |
|---|---|---|---|
| 1 | 1927 | Aufführung von Guo min gong di = En folkefiende von Henrik Ibsen durch die Nankai zhong xue (Nankai Middle School) in Tianjin unter der Regie von Zhang Pengchun mit Cao Yu als Tochter von Dr. Stockmann. |
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| 2 | 1928 | Aufführung von Nora von Henrik Ibsen durch die Nankai zhong xue (Nankai Middle School) in Tianjin unter der Regie von Zhang Pengchun mit Cao Yu als Nora. | |
| 3 | 1929 |
Cao Yu erhält The complete works of Ibsen vom Direktor des Nankai xin ju tuang (Nankai New Theatre) Tianjin. He Chengzhou : Cao Yu managed to read all Ibsen's plays in that collection, which opened his eyes to the dramaturgy of modern drama. "Reading all Ibsen's plays in English, played an important role in my dramatic career. From Ibsen's plays I realized that the dramatic art can have a number of ways of expression. Characters can become so real and at the same time so complicated." |
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| 4 | 1933 | Cao Yu schreibt seine B.A.-Arbeit über Henrik Ibsen. |
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| 5 | 1936 |
Cao, Yu. Lei yu. (Xianggang : Hong zhi shu dian, 1936). Beeinflusst von Ghosts von Henrik Ibsen. Cao, Yu. Ri chu. (Shanghai : Wen hua sheng huo chu ban she, 1936). Beeinflusst von Hedda Gabler von Henrik Ibsen. |
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| 6 | 1936 | Cao Yu, the first president of Beijing People's Art Theater, wrote in the epilogue of his trademark work The Sunrise (Richu) in 1936: "I remember I was fascinated by Chekhov's profound art a few years ago when I read The three sisters. How I was moved by his story... There is no dramatic plot, the structure is smooth but the vivid roles and their souls catch me... I cannot breathe but was immersed in that gloomy atmosphere. I want to be formally apprenticed to the great master to learn from him." |
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| 7 | 1944 |
Aufführung von Roumiou yu Youliye [ID D23516] = Romeo and Juliet von William Shakespeare in der Übersetzung von Cao Yu durch das Shen ying ju tuan (The Divine Eagle Theatre) mit Jin Yan als Romeo und Bai Yang als Juliet ; unter der Regie von Zhang Junxiang in Chongqing. Cao Yu : "One of my favourite Western playwrights is Shakespeare, and my fondness of Shakespeare's plays started from reading Lin Shu's Tales when I was a little boy. As soon as I was able to read the original English, I was eager to get hold of a Shakespeare play because Lin’s translation of Shakespeare's fantasy world was so fresh in my own mind.” Li Ruru : Cao Yu's translation, rendered in an elegant style of verse and prose, plays with the tones of Mandarin as well that the combination of rise and fall gives actors an excellent opportunity to deliver the poetry in the text. Cao Yu himself was undergoing an emotional turmoil during this period, and the feelings and passions Shakespeare wrote beautifully for Romeo and Juliet best expressed his own inner world. |
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| 8 | 1961 | Aufführung von Romeo and Juliet von William Shakespeare in der Übersetzung von Cao Yu durch die Zhong yang xi ju xue yuan (Central Academy of Drama) unter der Regie von Zhang Qihong. | |
| 9 | 1978 |
Cao, Yu. Ji nian Yibusheng dan chen yi bai wu shi [ID D26273]. Er schreibt : "I have worked at drama for decades. When I began to be interested in drama and playwriting, I certainly received a lot of influence from Ibsen." |
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| 10 | 1980 | Aufführung von Romeo and Juliet von William Shakespeare in der Übersetzung von Cao Yu durch das Shanghai ren min yi shu ju yuan (Shanghai People's Art Theatre) unter der Regie von Huang Zuolin, Zhuang Zejing und Ji Qiming. | |
| 11 | 1981 | Aufführung von Romeo and Juliet von William Shakespeare durch Studenten in tibetischer Sprache, basierend auf der Übersetzung von Cao Yu durch die Shanghai xi ju xue yuan (Shanghai Theatre Academy) unter der Regie von Xu Qiping xi ju xue yuan (Shanghai Theatre Academy) unter der Regie von Xu Qiping. | |
| 12 | 1981-1982 | Two Symposia on Eugene O'Neill by the Chinese Theatre Association. Young and middle-aged playwrights from around the country took part. Cao Yu lectures on both occasions on O'Neill's dramatic art. | |
| 13 | 1982 |
Cao, Yu. Cao Yu he ju zuo jia tan du shu he xie zuo 'ju ben'. In : Ju ben, Beijing (1982). [Talking with the playwrights about reading and writing]. 曹禺和剧作家谈读书和写作剧本 Cao Yu schreibt : "Shakespeare's plays are so great and profound that they are as miraculous as the universe. I once learned some techniques from Ibsen, yet I learned more from Shakespeare. His works exhibit the richness and variation of humanity, exquisite structure, beautiful poetic flavor, humanistic enthusiasm, and a fertile imagination. No genius can bear comparison with him. The most important technique of Shakespeare that we should learn is his brilliant characterization." |
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| 14 | 1983 | Cao Yu schreibt über William Shakespeare in Ren min ri bao : "Our studies of Shakespeare are conditioned differently from our Western counterparts. We have a long cultural tradition... We approach Sakespeare and admire the 'world giant' with Chinese eyes of a new historical phase." |
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| 15 | 1983 |
Gründung der Shakespeare studies = Shashibiya yan jiu [ID D23518]. Es ist die erste Zeitschrift in China, die einem Schriftsteller ausserhalb Chinas gewidmet ist. Cao Yu schreibt in der Einführung : "The dual purpose is to publish critical essays on Shakespeare and also articles concerning the playwright on the Chinese stage. Our aim is to recognize Shakespeare as a great Elizebethan dramatist and poet whose plays require both literary and theatrical research and study. If literary scholars cooperate closely and harmoniously with those who act Shakespeare, I believe we can advance both critical studies and improve stage productions." He Qixin : "In this journal scholars evaluated Shakespearean dramas from the aspect of humanism while maintaining a Chinese sensibility, that is, Shakespeare's works are interpreted by the Chinese from the perspective of human nature and human rights embedded in the plays, closely combined with the social and political issues in contemporary China. Instead of analyzing the theme of Shakespearean dramas, the Chinese tend to appreciate characters with passion, awakening self-consciousness, desire for freedom and competitive individualism, which inspires the spirit of emancipation from spiritual fetters and demands human rights and dignity. Some radical Chinese critics relate particular social issues in Shakespeare's dramas to those of contemporary China, for exemple, the power struggles in the playwright's plays are used to mock the political situation in China." |
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| 16 | 1984 |
Tian Benxian schreibt ein einem Artikel über die Einflüsse der westlichen Dramen auf die moderne Schauspielkunst Chinas über Cao Yu : Cao Yu ist ein Dramatiker, der es versteht, sich von den ausländischen Schauspielen anregen zu lassen. Seine Dramen Das Gewitter, Der Sonnenaufgang und Freies Feld zeugen davon, dass er der kühnste und aufgeschlossenste Dramatiker Chinas ist. Er hat den Mut, Techniken von den expressionistischen und symbolischen Dramen zu übernehmen und davon zu profitieren. Huang Guozhen : Zum ersten Mal wird der seelische, psychische Zustand des Menschen, das Unterbewusstsein, die Instinkte des Menschen als Themen in die chinesischen Dramen aufgenommen. Der innere Monolog, die Träume, die Visionen, die es vorher in chinesischen Schauspielen nicht gegeben hat, die aber typisch für die expressionistischen Dramen sind, werden in diese Dramen eingeführt. |
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| 17 | 1984 | Gründung der Zhongguo Shashibiya yan jiu hui = The Shakespeare Society of China = 中國莎士比亞 硏究會編. Cao Yu wird Präsident. |
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| 18 | 1988.06.06-14 |
International Conference 'Eugene O'Neill – world playwright' for his hundredth anniversary of his birth, co-sponsored by Nanjing University and the Eugene O'Neill Society at Jinling Hotel in Nanjing, June 6-9. O'Neill theatre festival June 6-14 in Nanjing and Shanghai ; initiated and organized by Liu Haiping. The festival belonged to a composite project that included the international symposium and a book exhibit, with over a hundred scholars, critics and theater professionals from China, Japan, India, United States, Britain, Germany, Belgium and the Soviet Union. Co-sponsored by the Nanjing University, the Jiangsu Culture Bureau, the Nanjing Television Network, the Jiangsu International Culture Exchange Center and the non-government Amity Foundation in Nanjing ; the Shanghai Culture Bureau, the Fudan University, the Shanghai Academy of Drama and the Shanghai Culture Development Foundation in Shanghai. The festival consisted of ten professional and two amateur productions of O'Neill's plays. Cao, Yu. Letter of greeting from the People's Republic of China to the Conference. Dear Professor Haiping Liu, Thank you for your kind invitation to the international conference in commemoration of Eugene O'Neill's centennial. I would indeed like to attend, yet I very much regret to say my poor health prevents me from coming to Nanjing. I hope you will understand and forgive me. I am so glad to learn that the conference is extremely well planned and prepared. I can imagine how much time you and your colleagues must have put into it. But you can be assured that the conference will be a great, unprecedented event in the history of the exchange of drama and theatre between China and the United States. It will, I am sure, win glory for the academic and theatrical circles. As for the papers to be presented at the conference, I hope they can be collected and published later as a book, so that other people, either O'Neill scholars or those merely interested in him, might also benefit from the conference and have a better understanding of this great dramatist's work. I avidly look forward to such a publication. Thank you for inviting me to be an honorary adviser to the conference. I accept the honor with gratitude. Best wishes for the success of the conference. Sincerely, Cao Yu, President Chinese Dramatists' Association. Speech by Huang Zongjiang at the Conference : "I am not an expert or scholar on O'Neill like you. I am only a fan of Eugene O'Neill. When a high school student, I read the early translations of O'Neill's plays and Beyond the horizon by Gu Yuocheng. How I dreamed of going beyond the horizon ! Then I went to college but did not finish it, just like Eugene O'Neill. I went onto the stage, became a professional actor, then a sailor, again following in the footsteps of Eugene O'Neill. There was World War II, of course. Patriotism. But I became a sailor mainly because of Eugene O'Neill. When the war was over in 1946, I went back to college, but was still unable to finish. I got TB, just like O'Neill. When my first play was published and performed, I thought I was a Chinese O'Neill. Then came the liberation in 1949. We were isolated. You call it iron curtain or bamboo curtain ; anyway there was a curtain. So, I accused and condemned Eugene O'Neill in this or that way. Then came the Cultural Revolution. I was persecuted, of course, as you can understand. The chief crime I was accused of was my worship for Eugene O'Neill. Then, when the Cultural Revolution was over, I was invited to visit the United States. It so happened that the sponsor of my trip was the Eugene O'Neill Theatre Center in Connecticut. You might wonder what we accused or condemned Eugene O'Neill of in those years. The first thing was his fatalism. The second was his pessimism. But it seems to us now, whether a fatalist or not, whether a pessimist or an optimist, O'Neill depicted life sincerely. I think the most important thing we have learned from Eugene O'Neill is that we are still learning. Another accusation was that O'Neill is not a realist in his art. Probably you cannot even understand why that was a problem in China. You know we advocated revolutionary realism. If you were not a realist, you were not a revolutionary ; you were a counterrevolutionary. I think O'Neill used expressionism, symbolism, modernism, even absurdism, to make the reality he presented more real. Again, what we have learned from O'Neill is the fact that we are still learning. That is my, or our, long voyage home from beyond the horizon, my life's journey into day. It is such a bright day now that we can have this bright international conference. I think you know what it means to me, to you, and to the whole world." Ile as an adaptation in Western-style opera by the Shanghai ge ju yuan (Shanghai Opera Company). Mourning becomes Electra by the Shanghai yue ju yuan (Shanghai Yue Opera Company), directed by Jiao Huang and Lou Jicheng in Beijing ; Jiao Huang as Brant and Orin, Lou Jicheng as Mannon, Lu Shichu as Lavinia. A group of students from the Shanghai Academy of Drama staged a less realistic version of the performance under the direction of Zhang Yingxiang. Beyond the horizon as performance ; under the direction of Xiong Guodong in Nanjing. Xiong announced in the program : "The communication between O'Neill's dramas and us can easily be established. The stories and the dramas seem to be happening around us. We ourselves even seem to be the very characters in the dramas. How successful we produce the play Beyond the horizon finally depends on how profound we can understand our life and the humans." The production was reset in the 1920s in a Southern Yangzi river village near Suzhou. The architecture, furniture, costume and cultural idiosyncrasies of the locale and the time lent realistic, even naturalistic, details to the nativized adaptation. The setting employed woodenware from farmhouses in Jiangsu countryside. Some of the Chinese audience reacted to the adaptation divergently, while some welcomed its Chinese consciousness and enjoyed its portrayal of the Chinese rural life, others criticized it as having gone to an extreme. Speech by Xiong Guodong at the festival : "For the cast and staff, this is our first experience with an O'Neill play. I should say we had a spiritual meeting with Eugene O'Neill. In staging this play, we found not only O'Neill but also ourselves. Whenever I read the play, I always had a strange feeling as if I saw O'Neill standing beyond the horizon looking at me, and sometimes as if I were standing over there looking at him. I came to see that each of us stands at once on both this side of the horizon and beyond it. From this revelation, I decided to adapt the play to a Chinese background, by putting it in the milieu of a rural village in the low reaches of the Yangzi river and let each of the characters bear a Chinese name. I hope that by doing so, it can help eliminate the distance between my Chinese audience and the American play. It is my understanding that although the play is entitled Beyond the horizon, the real emphasis is laid on this side of the horizon. It portrays successfully many true-to-life characters. So, I said to my cast and staff that we should do likewise on the Chinese stage. We strive to represent quite realistically Chinese rural life. That is why we use so many authentic stage properties and costumes. In fact, the cast and staff spent several weeks in a village in the Yangzi Delta experiencing daily life before we actually began rehearsals. People in different cultures behave differently. The ways to show love and hatred vary from culture to culture. So, we have made a lot of changes from the original script. We read each scene in O'Neill's play again and again and tried to make out what O'Neill meant by this or that, and then figured out ways to render it in the language of the Chinese theatre." The emperor Jones in form of a ritualistic dance by the Jiangsu Drama Troupe, under the direction of Feng Changnian, literary advisor Liu Haiping, choreograph Su Shijin, designed by Wang Zhengyang in Nanjing, Cai Wei as Brutus Jones. Second production of The emperor Jones by the Chinese Dramatists' Association in Beijing. Feng decided to bring into a single work elements of spoken drama, mime, music, dance, plastic arts and gymnastics. The production reduced the play's spoken language and psychological elements to the minimum and applied a ritual-like performance combining dance and pantomime instead. The dance chorus wore black or white leotards and featureless masks of the same color in order to 'give prominence to the main character and augment the production's style'. Speech by Feng Changnian at the Conference : "I have always been an admirer of Eugene O'Neill. I had the idea of producing The emperor Jones even when I was a student at a drama school. So, this production has fulfilled my long-cherished dream. The emperor Jones is a play with a long production history both in China and in the West. So the crucial thing for me is to find a new theatrical approach. Whenever I read the play, I am always struck by the horror of the dark, primitive forest, the suffocating drumbeat of the African tom-tom, the mysterious atmosphere and the simple grandeur of the play. I am also fascinated by the play's deep probe into the psyche of its characters, the elaborate sets of symbols, and the philosophical and psychological ramifications of the play. It seems to me that a realistic, conventional theatrical approach is absolutely inadequate. So, I felt I had to use more expressive means to do the play justice. Hence the new form – pantomime-dance – of this production. Another consideration in choosing this form is the Chinese audience. Since the form is a good mixture of action, pantomime, music and dance, it is in a sense similar to the form of Beijing opera, though our performance is much more abstract and modern than the traditional art. I think, therefore, it is an effective way to bring O'Neill to the Chinese theatregoers. To put it in a nutshell, the main emphasis of our performance is the overall mood and atmosphere created by the pantomime-dance based on the psychological truth of the protagonist Emperor Jones, which can be very different from the logic of our day-to-day life. For example, in certain scenes, we see human bodies or clotheslines hanging from tree branches. This is used to reflect Jones' state of mind. It is expressionistic, rather than realistic. The second emphasis of our production is the symbols ; for instance, the use of the cross in two scenes. The third emphasis lies in the treatment of time and space. At times, we try to blur the line between reality and illusion, or to juxtapose the real and the illusory, so as to effectively show the reality in Jones' illusion and the illusion in his reality. An example comes from the scene in which the Emperor is encircled by the natives running at a dizzying speed, each with a flaming torch in hand. Another point is that throughout the performance we try to maintain a delicate balance between pantomime and dance, relying on the traditional language of the theatre and our real life." The great god Brown by the Shanghai Youth Drama Troupe, under the direction of Hu Weimin, designed by Li Rulan in Shanghai, Zhang Xianheng as William Brown, Ren Guangzhi as Dion Anthony and Song Ruhui as Cybele. The production had opened at a university auditorium on May 28 and had eleven performances at the Changjiang Theater. With full use of symbolic masks. The actors wore plastic masks covering only part of their own features. The masks should 'represent the duality of human mind and disclose the truth of human nature'. Macro millions under the direction of Jackson Phippin. Long day's journey into night by Qian xian hua ju tuan (Drama Theatre of the Nanjing Military Subarea of the People's Liberation Army), under the direction of Zhang Fuchen, in the translation by Jiang Hongding. Speech by Yao Yuan at the festival : "We feel proud that this is the first American play ever done by our company, and it also marks the premiere of Long day's journey into night in China. I believe the Nanjing/Shanghai O'Neill theatre festival and this production will have great impact on Chinese life. With his integrity and insight as a true artist, O'Neill helped create the American drama and thus won high respect from people all over the world. Though China and the United States have different social systems and different political faiths, the Americans and the Chinese belong to the same human race. We are all thinking of ways to solve our common problems. Human beings have always been seeking light in darkness. It is the good artist, intellectuals, and so on, who hold the torches to light the human path. And Eugene O'Neill is one of them. It is based on this knowledge that we present O'Neill's masterpiece on the Chinese stage." Mourning becomes Electra in Yue opera, an interpretation of Hugie by the Shanghai Youth Theater in Nanjing. Hugie by the Shanghai Youth Drama Troupe, under the direction of Hu Weimin, in the translation by Liu Haiping in Shanghai. The Shanghai production differs from the American one not only in costume and language, but also in theme and style. Taking place in 1928 as the original play, the Chinese version of O'Neill's one-acter underwent transplantation from New York to Shanghai. The settings, costumes and sound effects contribute to a sketch of the mesmerizing Chinese city in the 1920s. Jiao Huang and Lou Jicheng cast as night clerk and gambler, appeared in traditional attire and adopted comic devices of the Chinese folk art of cross talk. Ah, wilderness. Student productions by Nankai University in Tianjin, Fudan University in Shanghai and Beijing University. |
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Bibliography (17)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1944 |
[Shakespeare, William]. Roumiou yu Youliye. Shashibiya ; Cao Yu. (Zhongqing : Wen hua sheng huo chu ban she, 1944). 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]. 柔密欧与幽丽叶 |
Publication / shak21 | |
| 2 | 1948 | Cao, Yu. Sunrise. Transl. by H. Yonge. (Beijing : Commercial Press, 1948). Übersetzung von Cao, Yu. Ri chu. (Shanghai : Wen hua sheng huo chu ban she, 1936). | Publication / CaoYu4 |
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| 3 | 1958 | Cao, Yu. Thunderstorm. Transl. by Wang Zuoliang and A.C. Barnes. (Beijing : Foreign Languages Press, 1958). Übersetzung von Cao, Yu. Lei yu. (Xianggang : Hong zhi shu dian, 1936). | Publication / CaoYu5 |
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| 4 | 1958 |
Tsao, Yu [Cao, Yu]. L'orage : pièce en quatre actes. Trad. par Tchen Mien [Chen Mian]. (Pékin : Ed. en langues étrangères, 1958). Übersetzung von Cao, Yu. Lei yu. In : Wen xue ji kan ; July (1934). = (Shanghai : Wen hua sheng huo chu ban she, 1936). 雷雨 |
Publication / CaoYu6 | |
| 5 | 1960 | Cao, Yu. Bright skies. Transl. by Chang Pei-chi [Zhang Beiji]. (Beijing : Foreign Languages Press, 1960). Übersetzung von Cao, Yu. Min lang de tian. (Beijing : Ren min wen xue chu ban she : Xin hua shu dian fa xing, 1956). 明朗的天 | Publication / CaoYu1 | |
| 6 | 1961 |
Tsao, Yü [Cao, Yu]. Himmel ohne Wolken. Übersetzt aus dem Chinesischen von Eberhard Meissner. (Peking : Verlag für Fremdsprachige Literatur, 1961). Übersetzung von Cao, Yu. Ming lang de tian. (Beijin : Ren min wen xue chu ban she, 1956). 明朗的天 |
Publication / CaoY2 | |
| 7 | 1978 | Cao, Yu. Ji nian Yibusheng dan chen yi bai wu shi. In : Ren min ri bao (21. Febr. 1978). [To celebrate the hundred-and-fiftieth anniversary of Ibsen]. | Publication / Ibs114 |
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| 8 | 1978 |
Tsao, Yu [Cao, Yu]. Sunrise : a play in four acts. Transl. by A.C. Barnes. (Beijing : Foreign Languages Press, 1978). Übersetzung von Cao, Yu. Ri chu. (Shanghai : Wen hua sheng huo chu ban she, 1936). 日出 |
Publication / CaoY5 | |
| 9 | 1980 |
Cao, Yu. Gewitter. (Beijing : Verlag für Fremdsprachige Literatur, 1980). Übersetzung von Cao, Yu. Lei yu. (Shanghai : Wen hua sheng huo chu ban she, 1936). 雷 |
Publication / CaoY3 |
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| 10 | 1980 |
Ts'ao, Yu [Cao, Yu]. The wilderness. Transl. by Christopher C. Rand and Joseph S.M. Lau. (Hong Kong : Hong Kong University Press, 1980). Übersetzung von Cao, Yu. Yuan ye. (Shanghai : Wen hua sheng huo chu ban she, 1937). (Wen xue cong kan ; 5). 原野 |
Publication / LauJ6 | |
| 11 | 1980 | Cao, Yu. The consort of peace. Transl. by Monica Lai. (Hong Kong : Kelly & Walsh, 1980). Übersetzung von Cao, Yu. Wang Zhaojun. (Chengdu : Sichuan ren min chu ban she, 1979). 王昭君 | Publication / CaoYu2 | |
| 12 | 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 | |
| 13 | 1981 |
Cao, Yu. Sonnenaufgang : ein Schauspiel in vier Akten. Übers. von Yvonne Mäder-Bogorad. (Beijing : Verlag für Fremdsprachige Literatur, 1981). Übersetzung von Cao, Yu. Ri chu. (Shanghai : Wen hua sheng huo chu ban she, 1936). 日出 |
Publication / CaoY1 | |
| 14 | 1986 |
Cao, Yu. Peking man. Transl. by Leslie Nai-kwai Lo ; with Don Cohn and Michelle Vosper. (New York, N.Y. : Columbia University Press, 1986). (Unesco collection of representative works. Chinese series). Übersetzung von Cao, Yu. Beijing ren. (Shanghai : Wen hua sheng huo chu ban she, 1941). [Rev. ed. 1947]. 北京人 |
Publication / CaoY4 | |
| 15 | 1988 | Cao, Yu. Aoni'er xi ju yan jiu lun wen ji. (Beijing : Zhongguo xi ju chu ban she, 1988). [Abhandlung über Eugene O'Neill]. | Publication / One31 | |
| 16 | 1999 |
Ba, Jin. The family. Ba Jin yuan zhu ; Cao Yu gai bian ; Ying Ruocheng yi.. (Beijing : Zhongguo dui wai fang yi chu ban gong si, 1999). Adaptation von Ba, Jin. Jia. (Shanghai : Kai ming shu dian, 1933). [Geschrieben 1931]. 家 |
Publication / CaoYu3 | |
| 17 | 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 (4)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1966 | Lau, Joseph S.M. Ts'ao Yü, the reluctant disciple of Chekhov and O'Neill : a study in literary influence. (Bloomington, Ind. : Indiana University, 1966). Diss. Indiana Univ., 1966. [Cao Yu]. | Publication / LauJ1 | |
| 2 | 1966 | Chen, David Y. Two Chinese adaptations of Eugene O'Neill's 'The emperor Jones'. In : Modern drama ; Vol. 9, no 1 (1966). | Publication / One45 | |
| 3 | 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 | |
| 4 | 1989 | Shih, Chung-wen. Cao Yu's sunrise : a reader. (Hong Kong : Joint Publ. Co., 1989). | Publication / Shi10 |
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