Abstract
Although both King Qi's Dream, by the Shanghai Beijing Opera Troupe, and Lear Is Here, by the Contemporary Legend Theatre, are adaptations of Shakespeare's tragedy King Lear, their treatments of its theme of unfiliality differ. Filial piety is one of the core values of Confucianism. Traditional Chinese theatre has a strong moralizing tendency and many of its plays preach filial devotion. Transgression against filial piety is considered a fundamental sin in Confucian culture, and it demands sensitive handling when publicly staged. Analyzing three plays from traditional theatre's repertoire-The Clear Breeze Pavilion (also called Heavenly Thunder's Retaliation), The Story of the Wall, and Birthday Greeting by Five Daughters-I identify four techniques used to mitigate the shock of unfilial children: (A) providential retaliation, (B) comedy and farce, (C) scapegoating, and (D) the ”grand reunion.” While hewing to King Lear's storyline, King Qi's Dream uses comparable tactics to transmute Shakespeare's tragedy into a didactic play of Chinese opera. Conversely, Lear Is Here employs multiple perspectives to recast the notions of filial piety, loyalty, and justice. In doing so, it challenges ethical and aesthetic traditions alike.
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