Abstract
Eugene O'Neill's Desire under the Elms (1924) has been adapted twice into traditional Chinese theatre (xiqu), or into Sichuan opera (chuanju) and Henan qu opera (henan quju) to be specific. A close reading of the adaptations reveals that the traditional theatre has been in a persistent search for intercultural perspectives, which at the same time also proves self-reflective. All through the two Desire adaptations there runs a significant indigenous vein, bringing to the American play a mixture of historical memories and contemporary experiences peculiar to China. Both scripts mirror the current spectacle of dramatic encounters between heterogeneous elements – native and foreign, traditional and modern – producing unceasing collisions and fragmentary images in the process. They nevertheless suggest the possibility of reaching a plateau where boundaries are crossed and seemingly incompatible elements merge. The kind of selective assimilation of modern Western thoughts and dramatic techniques evidenced here bring about a new turn in the traditional Chinese theatre.
Published Version
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