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Hoeï-lan-ki, ou L'histoire de cercle de craie: dramae en prose et en vers. London: Oriental Translation Fund
Helene Foley, M. Revermann (2012)
Performing gender in Greek Old and New Comedy
Dennis Kennedy (2003)
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Paize Keulemans (2018)
Performing China on the London Stage: Chinese Opera and Global Power, 1759–2008CHINOPERL, 37
Dongshin Chang (2015)
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M. Evans (2011)
Translating Bodies: Strategies for Exploiting Embodied Knowledge in the Translation and Adaptation of Chinese Xiqu Plays
M. Tian (1997)
"Alienation-Effect" for Whom? Brecht's (Mis)interpretation of the Classical Chinese TheatreAsian Theatre Journal, 14
Allison Bernard (2023)
How to read Chinese drama: a guided anthologyAsian Studies Review
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Traditional Dramatic Literature
Xing Fan (2022)
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Joshua Goldstein (2007)
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“ Adopting The Orphan : Theater and Urban Culture in Ming China
P. Sieber (2009)
The Eternal Present of the Past: Illustration, Theater, and Reading in the Wanli Period, 1573–1619Ming Studies, 2009
For a summary of this debate, see also Evans
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Ruru Li (2010)
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Marvin Carlson (1972)
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Catherine Swatek (2002)
Boundary Crossings: Peter Sellars's Production of Peony PavilionAsian Theatre Journal, 19
Insofar as the fall of the Ming was the first major historical event that was dramatized across Eurasia, compelling possibilities of a comparative history of theatricality beckon. See Keulemans
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H. Turner (2012)
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The Founding of the Han Dynasty in Early Drama: The Autocratic Suppression of Popular DebunkingThought and law in Qin and Han China
On a possible methodological model, see He, Home and the World
William Egginton (2002)
How the World Became a Stage: Presence, Theatricality, and the Question of Modernity
W. Idema (2016)
From Stage Scripts to Closet Drama: Editions of Early Chinese Drama and the Translations of Yuan ZajuJournal of Chinese Literature and Culture, 3
Peng Xu (2016)
The Music Teacher: The Professionalization of Singing and the Development of Erotic Vocal Style During Late Ming ChinaHarvard Journal of Asiatic Studies, 75
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Song of Dragon Well Tea and Other Court Plays: Stage Directions, Spectacle, and Panegyrics
For an exemplary study of the transcultural dynamics at play in Mei Lanfang's innovations in Beijing opera, see Yeh
On the prevalence of the phrases "ke" 科 or "jie" 介 (gestures/acting out) by themselves or in combination with other performative markers in Yuan and Ming editions of Yuan zaju, see Tian
Megan Ammirati (2018)
Staging Revolution: Artistry and Aesthetics in Model Beijing Opera During the Cultural RevolutionCHINOPERL, 37
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Writing and Speech: Rethinking the Issue of Vernaculars in Early Modern China
Diana Taylor (2003)
The Archive and the Repertoire: Performing Cultural Memory in the Americas
The Orphan of Zhao: The Cost of Loyalty
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‘Notes of the Flesh’ and the Courtesan's Art in Seventeenth-Century China
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Zhongguo xiju shi yanjiu rumen 中國戲劇史入門 (An Introduction to the Study of the History of Chinese Drama)
Eight-Court Pearl
Guojun Wang (2019)
The Spatiality of Emotion in Early Modern China: From Dreamscapes to TheatricalityCHINOPERL, 38
(2017)
The Eight-Court Pearl: Performance Scripts and Political Culture.
On the puritanical, antitheatrical overtones of a discursive preoccupation with the "bare stage, " see Carlson
Adrianna Dirisio (2022)
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D. Roy, S. West, W. Idema (1995)
The Moon and the Zither: The Story of the Western WingJournal of the American Oriental Society, 115
M. Revermann (2014)
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T. Chun (2020)
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For a discussion of stage directions in the context of various forms of Qing court theater, see Tan
D. Hopkins (2000)
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Judith Zeitlin (2016)
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M. Tian (2005)
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S. Williams (2015)
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For a history of early play translations in European languages, see Idema
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Theatre and operaEarly Modern Court Culture
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Masuhiro Kogoma (2006)
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Marvin Carlson (2002)
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Shih-lung Lo (2015)
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On the problems surrounding the term xiqu, see Kang, Zhongguo xiju shi yanjiu rumen, 1-20. My thanks to Paize Keulemans for bringing this study to my attention
Xiaoqiao Ling (2021)
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Cecilia Pang (2005)
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Astrid Møller-Olsen (2018)
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A. Willi, M. Revermann (2012)
The language(s) of comedy
Theatre Histories, is riddled with errors when it comes to traditional Chinese theater. For a particularly egregious example, see the chapter
Curie Virág (2019)
The Spatiality of Emotion in Early Modern China: From Dreamscapes to Theatricality by Ling Hon Lam (review)China Review International, 24
On the nationalist essentialism
S. Kile (2013)
Transgender Performance in Early Modern ChinaDifferences, 24
(2021)
‘Queering’ the Nation? Gendered Chineseness, Cross-Dressing, and the Reception of Love Eterne in TaiwanPrism: Theory and Modern Chinese Literature, 18
Paize Keulemans (2015)
Tales of an Open World: The Fall of the Ming Dynasty as Dutch Tragedy, Chinese Gossip, and Global NewsFrontiers of Literary Studies in China, 9
Representative works include Wang Shifu, Moon and the Zither, and West and Idema, Orphan of Zhao and Other Yuan Plays
Mulian Rescues His Mother: Play Structure, Ritual, and Soundscapes
The Story of the Western Wing: Theater and the Printed Image
Karin Myhre (2021)
Performing the Emperor: Sui Jingchen's "Han Gaozu Returns to His Home Village"Journal of Chinese Literature and Culture, 8
G. Williams, P. Zarrilli (2016)
Theatre Histories: An Introduction
Wen-Chin Chang (2021)
Performing the Role of Playwright: Jia Zhongming's Sanqu Songs in the Supplement to The Register of GhostsJournal of Chinese Literature and Culture, 8
A. Rayner (2006)
Ghosts: Death’S Double And The Phenomena Of Theatre
E. Westlake (2017)
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Humor too was subject to historical change. For an exemplary study in the modern Chinese context, see Rea, Age of Irreverence. 62. Ibid., 268. 63. Ibid
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“ The Peach Blossom Fan and Palace of Everlasting Life : History , Romance , and Performance . ”
W. Idema (2021)
The Ultimate Sanqu Song: Yao Shouzhong's "The Complaint of the Ox" and Its Place in Tanaka Kenji's Scholarship on SanquJournal of Chinese Literature and Culture, 8
Xing Fan (2021)
Resisting Spirits: Drama Reform and Cultural Transformation in the People’s Republic of China by Maggie Greene (review)Theatre Journal, 73
Frances Harding (2005)
Gaston Baty. Introduced by Béatrice Picon-Vallin, postface by Gérard Lieber. Arles: Actes Sud-Papiers, 2004. Pp. 60. €8 Pb Krystian Lupa. Interviews by Jean-Pierre Thibaudat. Arles : Actes Sud- Papiers, 2004. Pp. 88. €10 PbTheatre Research International, 30
Joachim Fiebach (2002)
Theatricality: From Oral Traditions to Televised "Realities"SubStance, 31
P. Sieber, Mario Grandis, Ke Wang, Hui Yao, Jingying Gao, Ian McNally, Xu Yichun, Jenn Nunes (2021)
In Search of Pure Sound: Sanqu Songs, Genre Aesthetics, and Translation TacticsJournal of Chinese Literature and Culture, 8
B. Bossler (2013)
Courtesans, concubines, and the cult of female fidelity : gender and social change in China, 1000-1400
T. Tan (2012)
Worldly Stage: Theatricality in Seventeenth-Century China (review)Harvard Journal of Asiatic Studies, 72
(2018)
Performance Review: Snow in Midsummer by Frances Cowhig
P. Sieber (2021)
A Flavor All Its Own: Some Theoretical Considerations on Sanqu Songs as Mixed-Register LiteratureJournal of Chinese Literature and Culture, 8
Yingde Guo (2010)
An Overview of Research on Classical Chinese Drama in North America (1998–2008)Asian Theatre Journal, 27
For a discussion of this debate in the Yuan dynasty, see Shih-pe Wang
Peng Xu (2014)
Courtesan vs. Literatus: Gendered Soundscapes and Aesthetics in Late-Ming Singing CultureT'oung Pao, 100
Samuel Leiter, C. Mackerras (2006)
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David Rolston (2002)
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E. Wichmann (1994)
Xiqu Research and Translation with the Artists in MindAsian Theatre Journal, 11
C. Hsia, Wai-yee Li, George Kao (2014)
The Columbia anthology of Yuan drama
M. Stevenson (2014)
One as form and shadow: Theater and the space of sentimentality in nineteenth-century BeijingFrontiers of History in China, 9
王 實甫, S. West, W. Idema (1995)
The story of the western wing
As Zeitlin notes, the increase in stage directions was a byproduct of the transformation of playscripts into reading material
(2020)
Mei Lanfang and Modern Dance: Transcultural Innovation in Peking Opera, 1910s–1920s.
(2021)
In Rethinking Chinese Socialist Theaters of Reform: Performance Practice and Debate in the Mao Era
Judith Zeitlin (2002)
My Year of PeoniesAsian Theatre Journal, 19
K. Rossiter, J. Gray, P. Kontos, M. Keightley, A. Colantonio, Julie Gilbert (2008)
From Page to StageJournal of Health Psychology, 13
(2013)
The Southern Story of the Western Wing (Nan Xixiang): Traditional Kunqu Composition, Interpretation and Performance
The Pavilion for Praying to the Moon and The Injustice to Dou E: The Innovation of the Female Lead
Janice Mcmurray (1885)
LaughterHall's Journal of Health, 32
Tracy Davis, Thomas Postlewait (2008)
Theatricality: An Introduction
In Western contexts, women did not become significant as actors or singers until the late sixteenth century. See Nellhaus et al., Theatre Histories
Casey Schoenberger (2019)
Storytellers, Sermons, Sales Pitches, and other Deceptive Features of City Life: A Cognitive Approach to Point of View in Chinese PlaysCHINOPERL, 38
Chun-jo Liu (1982)
CHINESE THEATER IN THE DAYS OF KUBLAI KHANMing Studies, 1982
Ying Wang (2022)
Top Graduate Zhang Xie: The Earliest Extant Chinese Southern Play by Jiushan Shuhui (review)Journal of Chinese Literature and Culture, 9
C. Marshall (2014)
Dramatic technique and Athenian comedy
For the term "gestic theatricality, " see 155. For other relevant studies, see Greene
Wei Feng (2020)
Correction to: Intercultural Aesthetics in Traditional Chinese TheatreIntercultural Aesthetics in Traditional Chinese Theatre
Chaomei Chen (2021)
Intercultural Aesthetics in Traditional Chinese Theatre: From 1978 to the Present. By Wei Feng. Cham: Palgrave Macmillan, 2020. Pp. xv + 277. £59.99/$84.99 Hb.Theatre Research International, 46
(2013)
The Pleasures of Print: Illustrated Songbooks from the Late Ming Courtesan World
Marvin Carlson (2001)
The Haunted Stage: The Theatre as Memory Machine
Li Xiao (2007)
The eternal present of the past : illustration, theater, and reading in the Wanli period, 1573-1619
s Cultural Army; Fan, Staging Revolution; and some of the essays gathered in Mezur and Wilcox, Corporeal Politics
Wang 汪詩珮, Erxin Wang (2021)
Plays within Songs: Sanqu Songs from Literary Refinement (ya) to Popular Appeal (su)Journal of Chinese Literature and Culture, 8
(1996)
Why You Have Never Read a Yuan Drama: The Transformation of Zaju at the Ming Court
(2020)
Review of The Spatiality of Emotion in Early Modern China: From Dreamscapes to TheatricalityCritical Inquiry, 46
Ashley Thorpe (2008)
Operatic China: Staging Chinese Identity Across the Pacific (review)Asian Theatre Journal, 25
(2002)
Peony Pavilion Onstage: Four Hundred Years in the Career of a Chinese Drama
Christopher Rea (2015)
The Age of Irreverence: A New History of Laughter in China
K. Carlitz (2015)
Courtesans, Concubines, and the Cult of Female Fidelity. By Beverly Bossler. (Cambridge, MA: Harvard University Asia Center, 2013. Pp. ix, 480. $39.95.)The Historian, 77
Impulsive Scholars and Sentimental Heroes
Xiaoqiao Ling (2019)
Feeling the Past in Seventeenth-Century China
(2013)
Impulsive Scholars and Sentimental Heroes: Contemporary Kunqu Discourses of Traditional Chinese Masculinities
For a similar understanding of the "goal of theatricalization as the display of exceptional achievement, " see Carlson
Introduction: The Culture Significance of Chinese Drama
Judith Zeitlin (2020)
2. From the Natural to the Instrumental: Chinese Theories of the Sounding Voice before the Modern Era
Brian Demare (2015)
Mao's Cultural Army: Drama Troupes in China's Rural Revolution
L. Mark (2013)
FROM PAGE TO STAGE: EXPLORING SOME MYSTERIES OF KUNQU MUSIC AND ITS MELODIC CHARACTERISTICSCHINOPERL, 32
The essay provides a brief review of how certain approaches to theatricality evolved in response to particular theatrical archives or repertoires in non-Chinese contexts. It then considers a number of recent studies of Chinese drama and theater in light of the following issues: the nature of theatrical language, the emergence and uses of fictionality, and the reconstruction of performance aesthetics. In focusing on these particular areas, the essay seeks to show how such research can contribute toward countering entrenched characterizations of xiqu as “non-drama,” “spectacle,” or “pure heritage.” The final section of the article proposes some future avenues of inquiry in order to deepen the dialogue between Sinology and theater studies while providing tools for sustaining the practice of xiqu and fostering broader appreciation of traditional Chinese theater in Anglophone, Chinese-speaking, and other contexts.
Journal of Chinese Literature and Culture – Duke University Press
Published: Apr 1, 2022
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