When "Macbeth" Meets Chinese Opera: A Crossroad of Humanity

Li Xingxing

doi:10.18778/2083-8530.21.04

Autor

Li Xingxing Civil Aviation Flight University of China

DOI:

https://doi.org/10.18778/2083-8530.21.04

Słowa kluczowe:

Shakespeare, „Macbeth”, Chinese Opera, Intercultural Theater, Sinolization

Abstrakt

As one of the four Shakespeare’s great tragedies, Macbeth, with its thrilling story line and profound exploration of human nature, has been adapted for plays and movies worldwide. Though Macbeth was introduced to China just before the May 4th Movement in 1919, its characters and plot have attracted the world in the past 100 years. Macbeth was firstly adapted into a folk play Theft of a Nation during the modern play period, to mock Yuan Shikai’s restoration of the monarchy, who was considered as a usurper of Qing dynasty, followed by Li Jianwu’s adaptation Wang Deming, Kun opera Bloody Hands, Taiwanese version of Beijing opera Lust and the City, Hong Kong version of Cantonese opera The Traitor, Macao version of small theater play If I were the King, Anhui opera Psycho, Shaoxing opera General Ma Long, Wu opera Bloody Sword, a monodrama of Sichuan opera Lady Macbeth, and an experimental Kun opera Lady. Therefore, this essay aims to comb the relations among various adaptations of Macbeth, to discover the advantages and disadvantages of different methodologies by examining the spiritual transformations of the main character Macbeth and reinvention of Lady Macbeth, and ultimately to observe acceptance of Chinese public, which might give thoughts to communications of overseas literature in China.

Pobrania

Brak dostępnych danych do wyświetlenia.

Biogram autora

Li Xingxing - Civil Aviation Flight University of China

Li Xingxing, assistant professor at Civil Aviation Flight University of China, graduated from University of Macau, as Doctor of Philosophy in Literary Studies, specializing in Comparative Literature & Intercultural Theater.

Bibliografia

Cao, Shujun; Sun, Fuliang. Shakespearean Plays on the Chinese Stage. Harbin: Harbin Publishing House, 1989.
Google Scholar

Cao, Shujun. Shakespearean Plays’ Spring in China. Beijing: People’s Literature Publishing House, 2001.
Google Scholar

Chinese Research Association of Shakespeare. Shakespearean Plays in China. Shanghai: Shanghai Wenyi Press, 1987.
Google Scholar

Dai, Yawen. Crazy Opera, Innocent Audience: Ten Years of Audience and Performance in Taiwan Theater (1988 – 1998). Translated by Lv Jianzhong. Taipei: Shulin Press, 2000.
Google Scholar

Fischer-Lichte, Erika, ed. The Dramatic Touch of Difference. Tubingen: Gunter Narr Verlag, 1990.
Google Scholar

Hegel. Aesthetic. Translated by Zhu Guangqian. Beijing: Beijing Commercial Press, 1986.
Google Scholar

Hu, Yaohuan. Western Drama Adaptations Problems in Lust and The City. The Chinese and Foreign Literature, 15(11): 77-84, 1987.
Google Scholar

Huang, Zuolin. Why Adapting Shakespearean Plays for Kun Opera. Art of Operas, 4: 4, 1986.
Google Scholar

“Interviews with Production Team of Kun Opera Lady.” 09 January 2018. Opera Stage. 26 June 2019. https://www.bilibili.com/video/av18142444/
Google Scholar

Lan, Fan. A Comparative Study of Chinese and Western Dramas. Shanghai: Xuelin Press, 1992.
Google Scholar

Li, Wanjun. Shakespeare and Chinese Drama from the Perspective of Comparative Literature. Literature Review, 3: 76-86, 1998.
Google Scholar

Li, Weimin. The Dissemination and Influence of Shakespeare’s Tragedy Macbeth in China. Journal of Northwest University (Philosophy and Social Sciences Section), 1: 75-84, 2006.
Google Scholar

Li, Weimin. The History of Shakespeare’s Criticism in China. Beijing: China Opera Press, 2006.
Google Scholar

Li, Xiaolin. Ambition or Destiny – From Macbeth to Bloody Hands till Lust and the City. Foreign Literary Criticism, 1: 140-152, 2010.
Google Scholar

Lei, Bi-qi Beatrice. Macbeth in Chinese Opera. Macbeth. London and New York: Routledge, 2008.
Google Scholar

Liang, Shuming. Eastern and Western Cultures and Their Philosophies. Shanghai: Shanghai People’s Publishing House, 2006.
Google Scholar

Meng, Hua. Comparative Literature Imagology. Beijing: Beijing University Press, 2001.
Google Scholar

Meng, Xianqiang. A Brief History of Chinese Shakespeare Studies. Changchun: Northeast Normal University Press, 1994.
Google Scholar

Moschovakis, Nick, ed. Macbeth: New Critical Essays. London and New York: Routledge, 2008.
Google Scholar DOI: https://doi.org/10.4324/9780203930700

Nicoll, A. Western European Theory of Drama. Translated by Xu Shihu. Beijing: Chinese Opera Press, 1985.
Google Scholar

Pavis, Patrice, ed. The Intercultural Performance Reader. London and New York: Routledge, 1996.
Google Scholar

Shakespeare, William. Macbeth, Oxford: Oxford University Press, 2004.
Google Scholar

Shakespeare, William. Macbeth. Translated by Liang Shiqiu. Taipei: Fareast Books, 1989.
Google Scholar

“Sichuan Experimental Opera Lady Macbeth Made Its Debut in Cairo.” Embassy of the People’s Republic of China in the Arab Republic of Egypt. 19 October 2010. 07. May. 2019. https://www.fmprc.gov.cn/ce/ceegy/chn/zggk/t762118.htm
Google Scholar

Sun, Qiang. Shaoxing Opera Macbeth – My General Malong. Operas, 5: 48, 2001.
Google Scholar

Wang, Anqi. Contemporary Opera, Taipei: Sanmin Books, 2002.
Google Scholar

Wang, Yong’en. On the Chinese Opera’s Adaptation of Macbeth. Art Critic, 10: 17-24, 2016.
Google Scholar

Wang, Zuoliang. Shakespeare’s Moment in China. Foreign Literature, 2: 12-18, 1991.
Google Scholar

Wu, Xinguo. Walking into Shakespearean World from a Traditional Perspective. The Chinese and Foreign Literature, 15(11): 50.
Google Scholar

Zhang, Longxi. The Metamorphosis of Shakespeare: From Text to Performance. Chinese Comparative Literature (First Issue). Hangzhou: Zhejiang Wenyi Publishing House, 1984.
Google Scholar