Ouyang, Yuqian
(Liuyang, Hunan 1889-1962) : Dramatiker, Film-Regisseur, Schauspieler
Name Alternative(s)
Ouyang, Liyuan
Subjects
Art : Cinema
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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 (10)
| # | Year | Text | Linked Data |
|---|---|---|---|
| 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 | 1909 | Aufführung von Re lei = Re xie = La Tosca : pièce en cinq actes von Victorien Sardou durch die Chun liu she (Spring Willow Society) mit Lu Jingruo und Ouyang Yuqian als Floria (Tosca) in Shanghai. | |
| 4 | 1914 | Aufführung von Nora von Henrik Ibsen durch die Shanghai Chun yang she (Shanghai Spring Willow Society) in Shanghai mit Ouyang Yuqian als Nora. [Erste Aufführung eines Dramas von Ibsen]. |
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| 5 | 1925 |
Ouyang, Yuqian. Pofu. In : Ju ben hui kan (1925). Einakter, beeinflusst von Nora von Henrik Ibsen. 泼妇 |
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| 6 | 1925 | Aufführung von Nora von Henrik Ibsen durch die Shanghai xi ju xie hui (Drama Society) in Shanghai unter der Regie von Hong Shen, in der Übersetzung von Ouyang Yuqian mit Wang Youqing als Nora.. |
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| 7 | 1948 |
Cai Chusheng, Xia Yan, Yang Hansheng und Ouyang Yuqian, sowie kantonesische Filmemacher gründen die Hong Kong Film Director's Guild = Xianggang dian ying dao yan hui = 香港電影導演會. The aim was to organize all film workers and protect their rights and to promote a self-critical approach towards locally produced films. |
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| 8 | 1950 | Film : You qi wei gan = 油漆未干 [Wet peint] unter der Regie von Quyang Yuqian nach Fauchois, René. Prenez garde à la peinture : comédie en 3 actes. (Paris : Ed. de l'Illustration ; Ed. du Dauphin, 1932). (La petite illustration ; no 574 ; Théâtre ; no 299). [Erstaufführung Théâtre des Mathurins, le 21 février 1932]. |
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| 9 | 1958 |
Aufführung von Hei nu hen = "Sorrows of the black slaves" = Uncle Tom's cabin von Harriet Beecher Stowe = 黑奴恨, in einer Adaptation von Ouyang Yuqian, durch das Zhong yang xi yu xue yuan shi yan ju chang (Experimental Theater of Central Academy of Drama) in Beijing, zur Feier des 50. Geburtstages des 'hua ju'. Ouyang Yuqiao schreibt im Nachwort : "Because of differences in viewpoints, changes have to be made in the plot, especially in characterization. It is impossible for my characters to think or act in the way Mrs. Stowe prescribe in the original text. I have mad George Harris into a man tempered in suffering, full of revolutionary ideas, endowed with organizational capabilities and therefore unafraid of taking action. The Tom of my creation is sincere, honest, noble, willing to sacrifice himself for the welfare of others. He has, at the beginning, some illusions that, with his kindness, he may effect changes in his greedy master. After he is put on sale twice and cruelly treated, he begins to think of rebellion. His class consciousness is being raised. At the time of his death, he has come to realize that all bosses are Legrees, as cruel as Legree, and that blood has to be paid by blood, accounts have to be settled with the oppressors." The portrayal of the cruel slave owners and traders follows Stowe's novel closely, but Stowe's more sympathetic characters, such as the Shelbys, George Harris and the factory owner Wilson, are also exposed as hypocrites. Tom is portrayed as loyal, kind, and self-sacrificing. Unlike Tom in the novel, who is a devout Christian unto death and forgives his tormentors, Ounyang's Tom comes to a gradual awakening as a result of his bitter experiences. When he is first sold by Shelby to pay a debt, Tom is still grateful to this old master. After Tom is beaten by his new master Simon Legree, Tom is no longer sure of his old beliefs. He says "I used to believe that all the people could be changed with kindness. Today I realize that you big slave owners cannot be changed with kindness." In contrast to Tom's generally meek submission to oppression, George Harris is full of fighting spirit. Harris's dream of being free is finally realized when he arrives in Canada with his family. Ouyang's portrayal of Harris as a freedom fighter is an affirmation of resistance as the effective means against oppression. The emphasis on resistance and class struggle in the play was in keeping with the communist ideology and China's stated foreign policy in the 1950s : to support the anti-imperialist struggles of the oppressed peoples in Asia, Africa, and Latin America. Chinese critics commented that the play succeeded in 'making the past to serve the present, and the foreign to serve the Chinese' and commended Ouyang for transforming himself from a patriotic youth of his student days into a proletarian warrior in his old age. |
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| 10 | 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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Bibliography (4)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1925 |
[Ibsen, Henrik]. Kui lei zhi jia ting. Ouyang Yuqian yi. In : Guo wen zhou bao ; 19 Avril, 26 Avril, 3 May (1925). Adaption und Übersetzung von Ibsen, Henrik. Et Dukkehjem : skuespil i 3 akter. (Kobenhavn : Gyldendal, 1879). = Ibsen, Henrik. Nora oder ein Puppenheim : Schauspiel in drei Aufzügen. (Leipzig : Reclam, 1889). = Ibsen, Henrik. Nora. (London : Griffith, Farran & Co., 1882). = Ibsen, Henrik. A doll's house. (London : T.F. Unwin, 1889). [Erstaufführung Det Kongelige Teater, Kopenhagen 1879]. 傀儡家之庭 |
Publication / Ibs22 | |
| 2 | 1939 |
[Tolstoy, Leo]. Yu mo. Tuo'ersitai yuan zhu ; Ouyang Yuqian gai bian. (Xianggang : Zhong hua yi shu ju tuan, 1939). Übersetzung von Tolstoy, Leo. Vlast' t'my : ili Kogotok Uviaz, vsei Ptichke propast' : drama v piati deistviiakh. (Moskva : Izd. Posrednika, 1887). = Die Macht der Finsterniss : dramatisches Sittenbild aus dem russischen Volksleben in 5 Akten. (Berlin : S. Fischer, 1887). = The dominion of darkness : a drama in five acts. (London : Vizetelly, 1888). 慾魔 |
Publication / Tol208 | |
| 3 | 1962 |
Ouyang, Yuqian. Hei nu hen : jiu chang hua ju. (Beijing : Zhongguo xi ju chu ban she, 1962). Adapation von Stowe, Harriet Beecher. Uncle Tom's cabin ; or, Life among the lowly. Vol. 1-2. (Boston : John P. Jewett ; Cleveland, Ohio : Jewett, 1852). [Geschrieben 1958 zu Feier des 50. Geburtstages des 'hua ju']. 黑奴恨 : 九場話剧 |
Publication / Stowe23 |
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| 4 | 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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