Chinese Drama Research Articles

An Exploration of the Aesthetic Value of Hu Shi s Ibsenism in Drama

The influence of Norwegian playwright Henrik Ibsen in China today is largely attributed to Hu Shi s introduction and evaluation of his works. Hu Shi wrote an article titled Ibsenism in Beijing on May 16, 1918, and revised it on April 26, 1919. This article was published on June 15, 1918, in the 4th volume, 6th issue of the New Youth magazine. Once published, it caused a significant stir in society. Consequently, a cultural transformation of realism emerged in China. Today, the study of Hu Shi s Ibsenism still holds great research value and significance. This paper aims to explore Hu Shi s Ibsenism to provide a strong theoretical support and practical basis for the development and construction of realism in creation and contemporary Chinese drama.

The Structural Analysis of Li Yu’s Twelve Towers

Li Yu, a playwright in the early Qing Dynasty, proposed the significant “structural theory” for the development of Chinese drama. This paper begins by discussing the concept of structural organization in his vernacular novel Twelve Towers, exploring how Li Yu, prior to putting forth the “structure comes first” theory, used the construction of “towers” as a narrative framework in the novel, to establish the spatial and thematic significance for the characters and activities within the story. Applying literature analysis of Twelve Towers as the research method, and supplementing it with Li Yu’s structural theory from Random Thoughts and Essays and his expertise in incorporating garden art, the paper delves into the conceptualization and construction process of the “tower” in Li Yu's novels. Li Yu emphasized the novelty of building a narrative like constructing a house, diverging from conventional themes of talent and honour. His narrative strategy not only captivates readers by leveraging the allure of idle literature but also subtly critiques societal norms, aligning with the prevailing taste for light-hearted reading over solemn arguments. While scholarly discussions often centre on Li Yu's later work Random Thoughts and Essays, this paper uniquely starts with Twelve Floors to illuminate Li Yu's evolving compositional philosophy and narrative techniques.

A Grammatical Study on the Korean Translations of Chinese Causative and Passive Homomorphic markers ‘讓，叫，給’ -focused on the Chinese dramas streamed on Netflix-

A Grammatical Study on the Korean Translations of Chinese Causative and Passive Homomorphic markers ‘讓，叫，給’ -focused on the Chinese dramas streamed on Netflix-

Explore Contemporary Significance and Market Dynamics of Jiangxi's Chinese Paintings

In the context of cross-cultural perspectives, drama is considered as an imported commodity for Chinese theater. Tian Han's early works marked a crucial point in the development of Chinese drama. This paper uses textual analysis to examine Tian Han's early drama ‘Death of a Noted Actor,’ exploring its significant role in laying the foundation for the emergence and development of Chinese contemporary drama from a cross-cultural viewpoint. The analysis focuses on cultural integration, market integration, dramatic aesthetics, and the utility research of how Tian Han's early dramas transcended the temporal constraints and shaped the theatrical concepts that promote the development of contemporary Chinese drama.

Translating and Imaging China: Anthologies of Modern Chinese Drama in English Translation

This article is an investigation of English-language anthologies of modern Chinese drama that emerged during the later twentieth century. Since 1970, approximately ten such anthologies have been published in the anglophone world. These anthologies played a critical role in constructing modern Chinese drama as a literary genre and in projecting the image of China as a successful socialist nation. By analysing these ten anthologies in terms of the criteria that influenced the selection of plays, this article aims to shed light on how such translation anthologies contributed to the (re)construction of the image of modern Chinese drama in the English-speaking world. This process of play selection is shaped by two primary factors: the first is the predominant national ideology in the source culture, which affects the thematics of the translation anthologies; the second is the individual aesthetics of the anthologists, which significantly influence their selection of specific plays. The article concludes with a consideration of the varied canon of modern Chinese drama across different moments in the later twentieth century as it has been established by anthologies in English-speaking countries.

Comparative Study of Beijing Dialect Translation in Teahouse from the Aesthetic Perspective

As one of Lao She’s masterpieces, Teahouse is a gem and a milestone in Chinese drama which is renowned both domestically and internationally. This article examines the translation of Beijing dialects in two English versions of Teahouse translated by Ying Ruochen and Howard from the perspective of reception aesthetic theory. The results indicates that Ying’s version focuses on stage performance, using simple or concise language which to some extent differs from the aesthetic expectations of the target language readers, while Howard’s translation, aiming at readers’ acceptance, tends to employ formal expressions and lengthy sentence structures, which are less suitable for stage presentation and performance.By revealing the translation differences in local dialects in the versions under this theoretical framework, this paper is hoped to provide valuable insights for translation studies and practice.

Technological Innovation in Chinese Digital Drama: A Case Study on the Posthuman Transformation of the Performing Subject – Digital Mei Lanfang Analysis

In the global artistic arena, digital performance, a fusion of art and technology is increasingly garnering attention. Accompanied by rapid technological advancements, Chinese performing arts are in a state of continual boundary expansion and exploration of new possibilities. This art form is undergoing a profound and revolutionary transformation with the infiltration and advancement of digital technology. This article, titled "Technological Innovation and Chinese Digital Drama: The Post-Human Transformation of the Performing Subject," delves into how digital technology is innovating traditional Chinese drama by transforming the performing. Centering around the Digital Mei Lanfang project as a pivotal case study, the research demonstrates how digital technology is redefining the subject of drama performance, thereby further redefining the scope and essence of theatrical performance. Employing qualitative research methods, literature reviews, and case study analysis, the article assesses the impact and value of the shift from Natural Human to Posthuman entities as performing subjects in Chinese theatrical arts, driven by digital technology. The research underscores the significance of post-human entities in protecting and disseminating cultural heritage in the digital era. This article aims to expand the boundaries of dramatic artistic expression through the study of posthumans becoming dramatic performing subjects and to provide theoretical foundations and practical references for the future development of dramatic arts. Consequently, this fosters the further development of Chinese dramatic arts in the digital age without losing their original characteristics.

Features of the Genre and Style of the Historical and Heroic Opera “Jiang Jie”

Being internationally recognised and having received many state awards, the historical and heroic opera “Jiang Jie”, or “Sister Jiang”, is considered as one of the peaks of national Chinese music. The work is little studied in the Russian scientifi c literature. The music of the opera is based on Sichuan folk songs and their characteristic pentatonic mode, elements of Sichuan and other types of opera, including Beijing, Yu, Yue, Hang Tang, Yang Qin and others. The score includes spoken dialogue, mass and domestic scenes, as in folk Chinese drama, as well as vocal forms, choral and symphonic pieces, as in Western European opera, which gave “Sister Jiang” the features of the genre and style of modern Chinese opera in the Western European style. All this speaks of the development of the national musical theatre traditions in the conditions of a new musical language of the 20th century. The study of this process seems relevant in the context of the problem of preserving national identity in the musical art of China. The article presents the results of an analysis of the features of the genre and style of “Sister Jiang” as a historical and heroic opera in Chinese in the Western European style, which crowns one of the most fruitful periods in the development of modern Chinese musical drama.

Analyzing the Popularity of Chinese TV Dramas in Vietnam from a Cross-Cultural Perspective

Chinese dramas have been brought into Vietnam since the 1990s, and then eventually began to gain popularity in the country. From the perspective of cultural studies, cultural difference is the reason for the lack of popularity of Western dramas in Vietnam. However, the popularity of Chinese dramas in the country is an indication of the phenomenon of “culture proximity”. The land of Vietnam and China is connected. Both the countries have over thousand years of history linkage including the similar origin of cultures, geographic features, norms and values as well as heritage. Hence, the intimacy that the Chinese dramas have bought stirs up the interests of the Vietnam audiences. Many Chinese dramas have been arranged to be shown during the “golden hours” by Vietnamese televisions stations and profoundly embraced by the local audiences. Therefore, the Vietnamese market has nurtured a huge number of loyal Chinese dramas fans.

Lao She's Beijing-style Language Reflects the Changes of the Times and the Feelings of the Family and Country

Lao She is a famous novelist in modern China and has the reputation of "People's Artist". His play "Teahouse" is considered by Cao Yu to be "a treasure in the history of Chinese drama". In "Teahouse", Lao She portrays a series of citizens represented by Wang Lifa, who grew up in Beijing and have a rich "Beijing flavor" in their language. Lao She is also using these original "Beijing flavor" language, through the mouth of these citizen images, to show the changes of modern China and Lao She's strong feelings for his family and country.

Xiaomei Chen, Tarryn Li-Min Chun, and Siyuan Liu, eds. Rethinking Chinese Socialist Theatres of Reform: Performance Practice and Debate in the Mao Era

This book is a study of the Chinese theatre reforms from the late 1940s to 1970s. Its comprehensive introduction and well-researched case studies make it suitable for use in courses on Chinese drama and theatre and as a reference for scholars of China in related fields.

How to Read Chinese Drama: A Guided Anthology ed. by Patricia Sieber and Regina Llamas, and: How to Read Chinese Drama In Chinese: A Language Companion ed. by Guo Yingde et al. (review)

How to Read Chinese Drama: A Guided Anthology ed. by Patricia Sieber and Regina Llamas, and: How to Read Chinese Drama In Chinese: A Language Companion ed. by Guo Yingde et al. (review)

Comprehension and second comprehension. The link between Meyerhold’s theory and Chinese drama

Comprehension and second comprehension. The link between Meyerhold’s theory and Chinese drama

Деконструкция сатирической пьесы В. Маяковского «Клоп» в романтическо-утопическом и постмодернистском вариантах в китайской рецепции

The study aims to identify the influence of V. Mayakovsky’s satire on Chinese drama. The paper examines the works of Chinese authors created under the influence of V. Mayakovsky’s satirical play “The Bedbug”. In Tian Han’s play “The Ballad of the Ming Tombs Reservoir” and in Jin Shan’s eponymous film, the idea of moving into the future determines the plot and the compositional structure. Meng Jinghui’s drama “The Bedbug” (the 2000, 2013 and 2017 productions) repeats the main plot of V. Mayakovsky’s play and retains many lines from the original work. This is the first staging of Mayakovsky’s play in China. The scientific novelty of the study lies in the fact that Mayakovsky’s influence on Chinese drama is for the first time being considered from the cultural and historical perspective and reflects the dynamics of perception of Mayakovsky’s satire in China starting with a romantic-utopian view, associated with the concept of the “Great Leap Forward” (Tian Han), to a postmodern view (Meng Jinghui). The study of the Chinese-language material on the reception of Mayakovsky’s satire, which remains unexplored in Russia, will make it possible to expand the understanding of the attitude to the creative work of the Russian futurist poet and playwright abroad not only among literary scholars, but also the reading public. The study found that the satirical comedy by the Russian poet of the turn of the 19th-20th centuries in the deconstructed versions reflects the problems of the formation of Chinese society in the 20th-21st centuries.

Sustainable tourism development for traditional Chinese drama's intangible cultural heritage

This study establishes an expert-driven evaluation system to assess the sustainable tourism development of drama-related intangible cultural heritage in China. Utilizing the Saaty 1–9 scale and hierarchical analysis method, 52 experts determined indicator weights and current development levels. Four dimensions are evaluated: humanistic value, project quality, tourism development, and sustainability. Results reveal humanistic value as most vital at 41.70 % weight. Secondary factors are project quality (29.89 %), tourism development (20.87 %), and sustainability (7.54 %). Aesthetic value, dissemination degree, and location conditions proved to the crucial tourism indicators. The ideological value of drama is paramount, alongside visibility and climate factors. The evaluation demonstrated strong preservation of humanistic value but deficiencies in tourism development, especially regarding infrastructure. Key recommendations include balancing preservation, dissemination, and innovation; emphasizing ideological value, visibility, and climate suitability; maintaining humanistic diversity; and improving site infrastructure. Further testing of evaluation indicators across periods is warranted alongside examining green revitalization potential. This assessment, guided by experts, offers a thorough framework for the sustainable development and preservation of the precious intangible heritage embodied in Chinese drama.

On the Acceptance of Western Expressionism in Chinese Drama in the Early 20th Century—Take the Early Plays of Guo Moruo, Hong Shen and Cao Yu as Examples

On the Acceptance of Western Expressionism in Chinese Drama in the Early 20th Century—Take the Early Plays of Guo Moruo, Hong Shen and Cao Yu as Examples

Am I a Girl or a Boy -An Analysis of Gender Misperception in the Film Farewell My Concubine

Farewell My Concubine, a 1993 Chinese drama film directed by Chen Kaige and starring Leslie Cheung, Zhang Fengyi, and Gong Li, is adapted from the novel of the same name by Leslie Cheung. Douzi, a boy whose stage name is Cheng Dieyi, plays the concubine Consort Yu, and his senior fellow trouper Shitou, whose stage name is Duan Xiaolou, plays the hero Xiang Yu in Peking Opera Farewell My Concubine. In life, Cheng Dieyi falls in love with Duan Xiaolou just like Consort Yu deeply loves Xiang Yu. In traditional Eastern culture and Western culture, gender is binary, that is, a person is either male or female, and there is nothing in between. In the traditional Chinese society with a dichotomous view of gender, Cheng Dieyi has a queer tendency. Based on Sigmund Jacques’ and Lacan’s theories of the Oedipus complex and castration complex, this article explores how Cheng Dieyi’s experiences of “castration” leads to his gender misperception in three aspects: Cheng Dieyi’s family background, troupe experience, and self-fantasy.

El espíritu filosófico en el teatro tradicional Chino

Abstract: Chinese drama has its origins in primitive forms of singing and dancing, and has since evolved into a comprehensive art form with a rich history. It is considered one of the three ancient drama cultures, alongside ancient Greek drama and Indian Sanskrit drama. Different nations have different cultures with unique national characteristics, while personalized philosophical concepts play a leading role in the formation of culture. Science, literature, art, education, etc., that belong to the cultural category, are all guided and influenced by philosophical thoughts, and drama art is the same. This article discusses and analyzes the philosophical thoughts behind traditional Chinese drama culture.

Comment on “Philosophical spirit in traditional Chinese drama”

Comment on “Philosophical spirit in traditional Chinese drama”

개수(概数) 兩에 대한 학습자의 이해와 한국어 대응 표현 연구

Through two surveys, this paper looked at how much Chinese learners knew about the approximate number “兩” and how it was expressed in Chinese dramas and novels. Although the rhetoric “兩” is a multilingual word that has two or more meanings, learners do not know it well. Therefore, the purpose of the study is to raise awareness of approximate quantity. The survey was conducted twice. The first survey aims to find out whether Chinese learners are aware of the approximate number “兩”. It translates four sentences for 40 people. Most Chinese learners were not well aware of the approximate number “兩”, and some advanced-level learners also showed errors. Overall, the percentage of correct answers was not high. The purpose of the second survey is to find out how high-level learners express the approximate number of “兩”. The content of the survey is to translate nine sentences for high-level learners. It was mainly translated into a few or a little. The expression of quantity that appeared in Chinese dramas and novels was investigated. Mostly, it appeared in a wide variety of ways, such as ‘좀’, ‘조금만’, ‘한두’, ‘두어’, ‘몇’, ‘한’. In particular, expressions appeared in various ways depending on the two companies.