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Journal articles on the topic 'Chinese drama – History and criticism'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Cui, Yunyun. "Reception of A.P. Chekhov's play “The Cherry Orchard” in China." Litera, no. 1 (January 2024): 226–36. http://dx.doi.org/10.25136/2409-8698.2024.1.69518.

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Anton Pavlovich Chekhov is a well-known Russian writer and playwright in China. During his life, he created many works that are familiar to the Chinese readers. It is generally recognized that Chekhov's plays open a new page in the history of drama and theater. The Cherry Orchard, Chekhov's last work, is considered one of his most mature dramatic works and today has a debatable character in literary criticism, its interpretations are offered to the audience on the theater stage all over the world, including in China. This article aims to trace the evolution of the reception of the named work in Chinese critical thought, as well as to reflect the history of the productions of The Cherry Orchard in the theater of China. The subject of this work is the reception of the play "The Cherry Orchard" in Chinese literary criticism, the study of the history of its translation and staging in various historical periods in China. The main research methods used are descriptive and historical. The author of the study tries to characterize the main features of the perception of the work and productions of The Cherry Orchard in China, which are determined by the change in the socio-historical conditions of the state. Critical and literary works of Chinese researchers of A.P. Chekhov's work are used as material for analysis. In this regard, the present study seems to be relevant, since the author develops a scientific discussion around the Chekhov work under consideration. The theoretical novelty of the article lies in the fact that the works of Chinese literary critics are introduced into scientific circulation, devoted to the problems of reception of the images of the play, its plot and ideological originality, and analyzes the performances of "The Cherry Orchard" by Chinese directors.

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2

Fuehrer, Bernhard. "The Columbia History of Chinese Literature. Edited by Victor Mair. [New York: Columbia University Press, 2001. 1,342+xxiv pp. $75.00; £52.50. ISBN 0-231-10984-9.]." China Quarterly 178 (June 2004): 535–36. http://dx.doi.org/10.1017/s0305741004390296.

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Following his Columbia Anthology of Traditional Chinese Literature (1994) and the Shorter Columbia Anthology of Traditional Chinese Literature (2000), the Columbia History of Chinese Literature intends to complement these two widely used readers. Edited by Victor H. Mair, the 55 chapters of this single-volume history of Chinese literature are chronologically arranged with thematic chapters interspersed. Indeed, a closer look at the chapters reveals that the book at hand follows the traditional dictum of wen shi zhe bu fenjia, i.e. that literature, history and philosophy should not be separated but regarded as one field of studies. Hence the scope of this history goes far beyond the scope of what is traditionally subsumed under the heading of literature. In addition to the topics (all genres and periods of poetry, prose, fiction, and drama) that one expects in a book of this sort, wit and humour, proverbs and rhetoric, historical and philosophical writings, classical exegesis, literary theory and criticism, traditional fiction commentary, as well as popular culture, the impact of religion upon literature, the role of women, and the relationship with non-Chinese languages and peoples (ethnic minorities, Korea, Japan, Vietnam) feature as topics of individual chapters.Most of the chapters are written by leading specialists in those areas and are highly informative as well as concisely presented. Moreover, a number of chapters are thought-provoking enough to inspire questions that may lead towards a more focused research on hitherto neglected or less well-documented topics. In this sense, The Columbia History of Chinese Literature may also be perceived as a potential major impetus for further developments in the study of pre-modern and modern Chinese literature and related fields. Since the volume aims at bringing the riches of China's literary tradition into focus for a general readership, the majority of chapters can probably be best described as outlines of specific developments that should encourage readers to consult more specialized publications.

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3

Bellamy, Andrew. "Lord Macartney’s Duelling Fates: Writing, Reading and Revising the Macartney Embassy, 1792–1804." Britain and the World 15, no. 1 (March 2022): 66–85. http://dx.doi.org/10.3366/brw.2022.0382.

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Recent scholarship on early Sino-British relations has begun challenging the longstanding projection of inevitability upon the First Anglo-Chinese War (1839–1842) by illuminating diverse opinions within each side rather than highlighting an inherent tension between “modern” Britain and “traditional” China. However, the assumption that the Macartney Embassy (1792–1794) served as the first major step toward war has gone largely unchallenged because its diplomatic drama and economic disputes appear to affirm the British and Qing Empires’ supposedly irreconcilable differences. This article examines Britons’ reactions to the Macartney Embassy through travelogues, periodicals, and diplomatic documents to reconstruct the Embassy free from the hindsight of war and the imposition of free trade upon the Qing in the Treaty of Nanjing (1842). It argues that late eighteenth-century Britons variably conceived of the Embassy as a success, dismissed it as inconsequential, or weaponized it for domestic political criticisms. They accordingly supported both optimism in the future of Sino-British relations and a deferent stance toward Britain’s Qing counterparts. The idea that the Embassy exemplified hostility between Britain and China only came about through John Barrow’s reactionary writings during the early nineteenth century that sought to defend Macartney’s conduct by foregrounding the Qing’s apparently impolite behavior. Barrow’s views took root after accounts of the Qing’s treatment of the Amherst Embassy (1816–1817) depicted this behavior as a pattern. In this way, Britons’ initial reactions to the Macartney Embassy complicate clear notions of a linear, causal relationship between the Embassy and the war. They rather suggest that these notions were invented through a misuse of hindsight by early nineteenth-century Britons and solidified by later historians.

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4

Wang, Yuhui, and Bai Ao. "Meta-criticism on Chinese TV drama criticism." International Journal of Human Culture Studies 2018, no. 28 (January 1, 2018): 696–700. http://dx.doi.org/10.9748/hcs.2018.696.

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5

Zhang, Jinsong. "Discussion on Raymond Williams’ Methodology of Drama Criticism." Journal of Contemporary Educational Research 5, no. 10 (October 29, 2021): 153–57. http://dx.doi.org/10.26689/jcer.v5i10.2635.

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Raymond Williams is one of the representative figures of British cultural Marxism and British cultural research. His cultural research, especially mass culture research, focuses on literary criticism. Among them, drama criticism is one of Williams’ most important forms of cultural criticism methodology. Williams’ drama criticism is based on drama history criticism. Through the historical analysis of drama content and form as well as the synchronic analysis of modern drama in different historical periods, including the ongoing drama history, Williams proposed the notion of “structures of feeling.” The emergence of this concept opened up the social critical dimension of Williams’ drama criticism. Drama criticism has become a window for examining, analyzing, and grasping the current social emotional structure or social culture. Furthermore, by implanting tragic plots in the drama, a potential practical strategy of social and cultural revolution can be realized.

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6

Shen, Jing. "Ranking Plays and Playwrights in Traditional Chinese Drama Criticism." CHINOPERL 31, no. 1 (June 2012): 1–36. http://dx.doi.org/10.1179/chi.2012.31.1.1.

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7

McEvilla, Joshua, Elizabeth Sharrett, Jennifer Cryar, Cristiano Ragni, and Alice Equestri. "VIII Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 98, no. 1 (2019): 445–94. http://dx.doi.org/10.1093/ywes/maz003.

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Abstract This chapter has three sections: 1. Editions and Textual Matters; 2. Theatre History; 3. Criticism. Section 1 is by Joshua McEvilla; section 2 is by Elizabeth Sharrett; section 3(a) is by Jennifer Cryar; section 3(b) is by Cristiano Ragni; section 3(c) is by Alice Equestri.

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8

He, Chengzhou. "Ibsen and chinese 'problem drama'." Ibsen Studies 3, no. 1 (June 2003): 54–70. http://dx.doi.org/10.1080/15021860304317.

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9

Barnett, Robert. "Younghusband Redux: Chinese Dramatisations of the British Invasion of Tibet." Inner Asia 14, no. 1 (2012): 195–234. http://dx.doi.org/10.1163/22105018-990123786.

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AbstractA film, a television series, four plays and an opera have been produced in China since 1997 dramatising the invasion of Tibet by the British in 1903 04. These works were part of an official effort to enhance patriotic spirit among Chinese and Tibetan people through historical example, as well as an attempt to represent Tibetans as participants in a broader Chinese resistance to Western aggression and humiliation. They coincided with an official call for film-makers to make propaganda more appealing and a decisive turn in Chinese cinema towards commercialised films and Hollywood-style narrative. The paper contextualises these dramatisations and their ideological features within the history of Tibetan representations in Chinese film and television dramas, and discusses foreign critiques of the most influential of the dramatisations of the Younghusband expedition, Feng Xiaonings 1997 film Honghegu (Red River Valley). It notes difficulties with criticisms about the lack of accuracy in these Chinese films, discusses several ways in which they match the historical record, and compares them with the little-known television series Jiangzi 1904.

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10

Jianqiang, Li. "Chinese Popular Film Criticism." Journal of Popular Culture 27, no. 2 (September 1993): 39–50. http://dx.doi.org/10.1111/j.0022-3840.1993.00039.x.

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11

Jain, Susan Pertel, and Manuel D. Lopez. "Chinese Drama: An Annotated Bibliography of Commentary, Criticism, and Plays in English Translation." Asian Theatre Journal 10, no. 2 (1993): 218. http://dx.doi.org/10.2307/1124183.

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12

Kurdi, Mária. "Samuel Beckett’s Drama in Hungarian Theatre History and Criticism before 1990." Theatron 16, no. 4 (2022): 54–69. http://dx.doi.org/10.55502/the.2022.4.54.

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The international and intercultural aspects of Samuel Beckett’s theatre have been widely recognised by an increasing number of scholarly works in the last few decades. This article offers a study of the pre-1990 reception of Beckett’s drama and theatre in Hungarian criticism and literary and theatre histories. Its focus is on critical and theoretical investigations of three of Beckett’s masterpieces for the stage, Waiting for Godot (1953), Endgame (1957), and Happy Days (1961), provided by Hungarian authors in Hungary or in Hungarian-language forums of the neighbouring countries. While mentioning all the premieres of the three masterpieces in Hungary during the given period, the article surveys and compares only those ideas across the various theatre reviews, which contribute to the Hungarian critical reception of Beckett and the selected works. To place the addressed pre-1990 Hungarian studies and reviews in the broader field, the article is framed by references to some relevant writings of international Beckett scholars.

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13

Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.

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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.

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14

Chen, Fan Pen. "The Role of the Chou ("Clown") in Traditional Chinese Drama: Comedy, Criticism and Cosmology on the Chinese Stage." CHINOPERL 28, no. 1 (June 2008): 97–99. http://dx.doi.org/10.1179/chi.2008.28.1.97.

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15

Allern, Tor-Helge, Sisi Zheng, and Stig A. Eriksson. "Interview with Li Yingning." Applied Theatre Research 10, no. 2 (December 1, 2022): 205–26. http://dx.doi.org/10.1386/atr_00071_7.

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In this interview, the Chinese playwright and drama education pioneer Li Yingning (b. 1942) talks about her life and way into educational drama. Li and her family’s life is to a remarkably large extent connected to modern Chinese history. Li’s plays focus on women’s issues, social problems and historical productions. Her life seems to include much of China’s modern history – and drama – in many levels of meaning of this word.

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16

Cohen, Stephen, and Lawrence J. Ross. "On Measure for Measure: An Essay in Criticism of Shakespeare's Drama." Sixteenth Century Journal 29, no. 2 (1998): 510. http://dx.doi.org/10.2307/2544531.

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17

Li, Xiang. "The history of the Chinese translation of Chekhov's drama in the XX and XXI centuries." Litera, no. 6 (June 2022): 1–13. http://dx.doi.org/10.25136/2409-8698.2022.6.37994.

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Recently, there has been an increase in the interest of scientists in studying foreign translations of Chekhov's dramatic works. There are quite a lot of comparative studies of various Chinese translations of Chekhov's plays in a certain period, but the problem of systematic periodization of Chinese translations of Chekhov's plays has been little studied. The article is devoted to understanding the history of the Chinese translation of Chekhov's plays in the XX and XXI centuries. The subject of the study is various Chinese translations of Chekhov's dramatic works. The purpose of this work is a systematic analysis of the features and causes of the development of the Chinese translation of Chekhov's drama in different periods. Descriptive, analytical and comparative methods are used in the course of the study. For the first time, the work provides a relatively holistic overview of the history of reception and translation of Chekhov's drama in China since the XXI century. In a comparative study of Chinese translations of Chekhov's dramatic works, it is necessary to pay attention to the perception of foreign culture by different translators. We divide the complex history of reception and translation of Chekhov's drama in Chinese culture of the XX - XXI centuries into five stages. With the change of time and the development of theory and the level of translation, the artistic charm of Chekhov's drama is revealed even more. Chekhov's transformation from a typical realist writer into a recognized pioneer of modern drama of the XX century also confirms the complexity, ambiguity and advancement of Chekhov's work. We also need to look at the translations of Chekhov's dramaturgy from an intercultural point of view, timely consider the latest achievements of research in the field of translation of Chekhov's dramaturgy at home and abroad and look for ways of mutual comparison between different cultures in comparing translations.

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18

Yang, Hanqi. "The significance of the change from "movie" to "movie view" to the evolution of Chinese films." Advances in Education, Humanities and Social Science Research 1, no. 2 (September 20, 2022): 456. http://dx.doi.org/10.56028/aehssr.1.2.456.

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"Movie" is an appellation of early Chinese films. "Shadow" uses light as a pen to write a summary of screen behavior; "Drama" is an abstract meaning of plot and dramatic conflict. "Film drama" reflects the creative idea and direction of early Chinese films, and also reflects the origin between it and drama. In the history of Chinese film, this unique concept of national film was formed through multiple washes of subjective choice and the promotion of historical opportunities, and has gradually become the dominant concept of art and film in the development of Chinese film.

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Yang, Hanqi. "The significance of the change from "movie" to "movie view" to the evolution of Chinese films." Advances in Education, Humanities and Social Science Research 2, no. 1 (September 20, 2022): 456. http://dx.doi.org/10.56028/aehssr.2.1.456.

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"Movie" is an appellation of early Chinese films. "Shadow" uses light as a pen to write a summary of screen behavior; "Drama" is an abstract meaning of plot and dramatic conflict. "Film drama" reflects the creative idea and direction of early Chinese films, and also reflects the origin between it and drama. In the history of Chinese film, this unique concept of national film was formed through multiple washes of subjective choice and the promotion of historical opportunities, and has gradually become the dominant concept of art and film in the development of Chinese film.

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20

Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya." Journal of Practical Studies in Education 2, no. 5 (August 6, 2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.

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Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.

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21

Zhao, Shuhang. "Summary of the Presentation and Practice of Early Stage Art in Contemporary China." Transactions on Social Science, Education and Humanities Research 4 (March 12, 2024): 116–19. http://dx.doi.org/10.62051/1a4v5g88.

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The practice of early Chinese stage art is a key exploration to lay the foundation for the trend and development path of Chinese stage art style. Directors Xiaozhong Xu, Zhaohua Lin and Zuolin Huang, through their own influence and creation, guide the practice with the spirit of exploration, give back the audience with excellent drama works, respond to the history of contemporary Chinese drama, and show the future development of Chinese drama art. This paper takes the presentation and practice of early stage art in contemporary China as the starting point, follows the masters of contemporary drama art, and feels the artistic charm and spirit of the times distributed in the exploration process of early stage art in China.

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22

Llamas, Regina. "Wang Guowei and the Establishment of Chinese Drama in the Modern Canon of Classical Literature." T'oung Pao 96, no. 1 (2010): 165–201. http://dx.doi.org/10.1163/156853210x515675.

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AbstractThis essay examines the process by which Wang Guowei placed Chinese dramatic history into the modern Chinese literary canon. It explores how Wang formed his ideas on literature, drawing on Western aesthetics to explain, through the notions of leisure and play, the impetus for art creation, and on the Chinese notions of the genesis of literature to explain the psychology of literary creation. In order to establish the literary value of Chinese drama, Wang applied these ideas to the first playwrights of the Yuan dynasty, arguing that theirs was a literature created under the right aesthetic and creative circumstances, and that it embodied the value of "naturalness" which he considered a universal standard for good literature. By producing a scholarly critical history of the origins and nature of Chinese drama, Wang placed drama on a par with other literary genres of past dynasties, thus giving it a renewed status and creating at the same time a new discipline of research. Drama had now become an established literary genre.

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23

Xiang, Yu, and Irina V. Monisova. "Russian symbolist drama and theater in the Chinese scientific context." RUDN Journal of Studies in Literature and Journalism 24, no. 2 (December 15, 2019): 235–44. http://dx.doi.org/10.22363/2312-9220-2019-24-2-235-244.

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The article is based on the material, presented by the authors at the International Scientific Conference “Russia and China: History and Prospects of Cooperation”. It summarizes the experience of studying drama and theater of Russian symbolism in modern Chinese philological science, and discusses the promise of translating and presenting these dramas on the Chinese stage. One of the authors of this article is a translator and publisher with a number of plays by Russian symbolists, so the article focuses on problems, which concern about adaptation and reception of Russian symbolist drama in the modern Chinese context. We can make the conclusion about Chinese researchers’ growing interest is not only to the phenomenon of the new drama by recent decades, but also to the artistic innovations in drama and theater at the turn of 19 and 20 centuries, where can be found the influence of traditional Chinese theatre and fine arts.

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24

Milne, Drew. "Cheerful History: the Political Theatre of John McGrath." New Theatre Quarterly 18, no. 4 (November 2002): 313–24. http://dx.doi.org/10.1017/s0266464x02000428.

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In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism and socialism which are constitutive of McGrath's plays. Drew Milne is the Judith E. Wilson Lecturer in Drama and Poetry, Faculty of English, University of Cambridge, and a Fellow of Trinity Hall. He has published various articles on drama and performance, including essays on the work of August Boal, Samuel Beckett, and Harold Pinter, and is currently completing a book entitled Performance Criticism.

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25

Wichmann, Elizabeth. "Chinese Drama: An Annotated Bibliography of Commentary, Criticism, and Plays in English Translation (review)." China Review International 3, no. 1 (1996): 22–33. http://dx.doi.org/10.1353/cri.1996.0082.

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26

Zhang, Jie, and Wenxin Lin. "Historical facts of literature and personality in research – about the compilation of the book “History of Russian and Soviet literary criticism of the XX century”." Neophilology, no. 24 (2020): 755–64. http://dx.doi.org/10.20310/2587-6953-2020-6-24-755-764.

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Russian literature is an important part of world literature and is studied all over the world. In comparison with the history of literature, the history of literary criticism is more an interaction between the objectivity of literary facts and the personality of the compiler of this history. This work presents a description of the personality in research using the example of the book “History of Russian and Soviet literary criticism of the XX century” written by Chinese scientist Zhang Jie, the main task of which is to provide a theoretical basis and methods of criticism for analyzing the mechanism of reproducing the meanings of literary texts and images. We analyze the functions of literary criticism and explain the interaction and harmony of objective historical facts of literature and the compiler’s personality in the study. We define three currents of Russian and Soviet literary criticism of the 20th century: religious and cultural criticism, real literary criticism, and aesthetic criticism. We prove that history reflects not only the objectivity of factors, but also its compiler’s personality, which is an indicator. We explain the need to coordinate the objectivity of historical facts and the subjectivity of the compiler, and we present a value-based reflection of a scientific linguistic personality in the Chinese ethnoculture.

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27

Ziyun, Liu, and Yuefan Wang. "Unquiet Qing: The Course of Lovesickness in the Modernization of Chinese Literature." Journal of Chinese Literature and Culture 10, no. 2 (November 1, 2023): 379–402. http://dx.doi.org/10.1215/23290048-10767870.

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Abstract Lovesickness (xiangsi bing), a disease of qing (sentiment, passion, feeling, desire, and love), emerged as a literary topos in China's medieval lyrical tradition and was developed through late imperial drama and fiction. This article examines narratives of lovesickness in popular literature—both fiction and drama—from the Song (960–1279) to the Qing (1644–1912), including some texts rarely discussed in English scholarship from the perspective of love writing. With thorough documentation, we present two classic plot patterns of the literary malady: one involving mutual affection of separated lovers, the other the one-sided passion, whether of unrequited (usually male) love or of one part of a couple longing for reunion. We argue that the notorious lovelorn figures in late Ming (sixteenth and seventeenth centuries) legal cases and Qing scholar-beauty xiaoshuo novels made lovesickness a target for criticism by literati and prompted reflection and revision of traditional narratives. With the modernization and westernization of Chinese literature, this classical literary malady was finally “cured.” The disappearance of lovesickness reflects the gradual replacement of classical ways of thinking with a modern cognitive style and, simultaneously, the transition of Chinese literature from classical to modern.

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Bintsyan, Lyu. "Technology of integration of expressive means in the chinese musical drama kunqu in its parallels to the liturgical mystery drama of europe." Educational Dimension 26 (December 14, 2009): 192–99. http://dx.doi.org/10.31812/educdim.7012.

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The Chinese music drama Kuncyuy in her parallel to liturgical drama - of Europe. The Article illuminates the questions history metaphysicians on example of the parallelismartistic event 15-16 ages upon their urgency for modem listeners.

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29

Wang, Guojun. "The Prefatory Self: Images of the Author in Traditional Chinese Drama." T’oung Pao 107, no. 1-2 (April 12, 2021): 95–132. http://dx.doi.org/10.1163/15685322-10701003.

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Abstract This article considers representations of Chinese opera authors in the prefatory space of their theatrical works. Despite the longstanding tradition of portraiture and drama production in premodern China, existing materials suggest that pictorial depictions of the authors started to appear in play scripts primarily during the Qing dynasty. How are those images related to theatrical works and their authors? Instead of treating authorship as a type of ownership, this article studies the multifaceted nature of authorial images by examining the depiction of the authors’ hairstyles and clothing alongside other content in the front matter of those plays. Situating the phenomenon within the histories of Chinese drama, clothing, and book culture, this article argues that authors increasingly appeared in late imperial Chinese drama in their social roles, moving from the prefatory space to the drama script proper.

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30

Knowles, Richard Paul. "CTR and Canadian Theatre Criticism: Constructing the Discipline." Canadian Theatre Review 79-80 (June 1994): 10–13. http://dx.doi.org/10.3138/ctr.79-80.002.

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In an article published in Theatre History in Canada (1990), and in his introduction to The CTR Anthology, Alan Filewod has analysed “The Canon According to CTR”, usefully examining the ways in which CTR constructed, and subsequently deconstructed, “Canadian Theatre”, and particularly Canadian drama, throughout the 1970s and 80s. Filewod was concerned primarily to explore the selection and publication of playscripts in the journal, and the ways in which the discourse of CTR has shifted over the years and over its first three editorial “regimes”, as he calls them, to become increasingly pluralistic, concerning itself less with building a national theatrical identity and dramatic canon, and more with decentring that canon.

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Burnett, Katharine. "Contemporaneity in Seventeenth-Century Chinese Painting, Theory, and Criticism." Ming Studies 2023, no. 88 (July 3, 2023): 3–33. http://dx.doi.org/10.1080/0147037x.2023.2276599.

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32

Wang, Yuxin, and Zhulin Han. "On Translation Strategies of Biographies Under Translator Behavior Criticism." International Journal of Education and Humanities 9, no. 3 (July 25, 2023): 9–12. http://dx.doi.org/10.54097/ijeh.v9i3.10154.

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The biography of Party history is a valuable asset of Chinese culture. And as an important step for Chinese culture to go global, its translation has expanded the influence of Chinese literature. The translator analyzes the translation strategy of Biography of Yang Song on the “Truth-seeking-Utility-attaining” evaluative model of continuum, describes the translation phenomenon and translator behavior, and thus explores the process of translators’ participation in society, aiming to promote the translation study of Party history through the analysis of its translation.

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33

Lampert, Nick. "Social criticism in Soviet drama: The plays of Aleksandr Gel'man." Soviet Studies 39, no. 1 (January 1987): 101–15. http://dx.doi.org/10.1080/09668138708411676.

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34

Zhurcheva, Olga V. "“New drama”: Pro et contra." Izvestiya of Saratov University. Philology. Journalism 22, no. 4 (November 23, 2022): 484–87. http://dx.doi.org/10.18500/1817-7115-2022-22-4-484-487.

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At the end of the 20th – the beginning of the 21st century there were serious changes in the poetics of drama, defining the strategy of artistic forms and features of artistic consciousness. This gives the right to single out the history of the “new drama” in a separate period of the literary and theatrical process. A new book by the Belarusian researcher S.Ya. Goncharova-Grabovskaya “Modern Russian Dramaturgy (late 20th – early 21st century)” is devoted to generalization and comprehension of this period, which is considered and announced in the presented review. The book examines the main trends in the development of the Russian drama at the turn of the 20-21st centuries: the history of the emergence of the “new drama” movement, aspects of poetics (hero, conflict, chronotope, language), genre-style vector (social drama, documentary drama, monodrama, remake plays, drama of the absurd) – all that defines the specific features of the modern dramaturgical process. The focus is on the plays of famous playwrights, which have been staged in theaters in Russia and Belarus, have received positive reviews in criticism. The peculiarity of the reviewed book is that it analyzes modern Belarusian drama, traces its connection with the Russian. The book includes overview chapters reflecting the genre and style parameters of drama, a list of plays, information about playwrights, control questions and assignments. The scientific and methodological publication under review is expected to be in high demand not only in the philological environment, but also among theater critics and theater historians.

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Lu, Sheldon. "History, Memory, Nostalgia: Rewriting Socialism in Chinese Cinema and Television Drama." Asian Cinema 16, no. 2 (September 1, 2005): 2–22. http://dx.doi.org/10.1386/ac.16.2.2_1.

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Zhao, Xiaohuan. "Nuo Altar Theatre on a Liminal/Liminoid Continuum: Reflections on the Shamanic Origins of Chinese Theatre." TDR/The Drama Review 63, no. 2 (June 2019): 57–77. http://dx.doi.org/10.1162/dram_a_00835.

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The rite of exorcism known as nuo lies at the very heart of the relationship between ritual and drama in Chinese theatre history. Nuo altar theatre exemplifies the relationship between ritual and drama as dynamic and interactive, with ritual engendering theatre and theatre enriching ritual.

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Jingya, Xue, Zhang Jiaxiao, and Zhang Xiaojuan. "National cultural symbols and their connotations in drama, film and television art design in China." OOO "Zhurnal "Voprosy Istorii" 2023, no. 9-1 (September 1, 2023): 226–35. http://dx.doi.org/10.31166/voprosyistorii202309statyi20.

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Cook, Alexander C. "Chinese Uhuru." positions: asia critique 27, no. 4 (November 1, 2019): 569–95. http://dx.doi.org/10.1215/10679847-7726890.

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Mao’s most famous statement about postcolonial struggle came in response to the Congo Crisis of the 1960s, yet China’s understanding of and involvement in that conflict has been largely ignored. Based on briefly declassified archival sources and long-forgotten cultural works, this essay examines the significance of China’s engagement in the heart of Africa. A close reading of the spoken-word drama War Drums on the Equator (1965) reveals the importance of mobilizing “subjugated knowledge” in asymmetrical conflict.

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Han, Zhang. "On the Knowledge Paradigm of the History Writing of Ancient Chinese Drama." International Journal of Literature and Arts 10, no. 2 (2022): 141. http://dx.doi.org/10.11648/j.ijla.20221002.20.

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Megan Evans. "The Role of the Chou ("Clown") in Traditional Chinese Drama: Comedy, Criticism, and Cosmology on the Chinese Stage (review)." Asian Theatre Journal 26, no. 2 (2009): 368–71. http://dx.doi.org/10.1353/atj.0.0039.

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Yang, Ling. "Influence of The Bel Canto Style on Vocal Performance in China." Highlights in Art and Design 2, no. 3 (May 3, 2023): 27–39. http://dx.doi.org/10.54097/hiaad.v2i3.7993.

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In the modern period, within the framework of the academic style in China, there is a division into the Western-oriented tradition (conventionally called by Chinese practicing musicians “bel canto”) and the tradition associated with national opera drama. The study of these relationships fundamental to Chinese vocal culture is of great importance in the history of Chinese vocal art.

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Hung, Chang-Tai. "Female Symbols of Resistance in Chinese Wartime Spoken Drama." Modern China 15, no. 2 (April 1989): 149–77. http://dx.doi.org/10.1177/009770048901500202.

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Wenpu, Zhang. "The Chinese screen as a critical art issue: to the statement of the question." OOO "Zhurnal "Voprosy Istorii" 2023, no. 9-1 (September 1, 2023): 218–25. http://dx.doi.org/10.31166/voprosyistorii202309statyi25.

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The article is devoted to the problem of including the phenomenon of the Chinese screen in the art criticism discourse. Based on the systematization of the available scientific literature, the study discusses the problems of considering the Chinese screen from the standpoint of art history and reveals a number of promising areas of research. The study concludes that the Chinese screen is still often undervalued in science.

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Hinsch, Bret. "Ten Chinese Books That Changed Our View of Women’s History." Nan Nü 20, no. 1 (February 14, 2018): 153–67. http://dx.doi.org/10.1163/15685268-00201p03.

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Scholars of Chinese women’s history in the West have often ignored the scholarship of their colleagues in China. For much of the twentieth century, Chinese academia was in chaos. With so little good research coming out of China, Western scholars became accustomed to ignoring the works of Chinese academics. Since the 1980s, however, Chinese scholarship has steadily improved, reaching international standards of quality. Chinese scholars remain highly influenced by their rich intellectual legacy. A post-Marxist mindset makes them extremely sensitive to the importance of social class. And the study of imperial philology has taught them the importance of textual criticism and close reading. This article discusses ten representative Chinese books covering different eras of women’s history, which exemplify the contributions that Chinese scholars are currently making to the field.

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Jin, Chenyuan. "The possibility of using psychotherapeutic elements of traditional Chinese drama in modern theatrical culture." Философия и культура, no. 4 (April 2023): 88–102. http://dx.doi.org/10.7256/2454-0757.2023.4.40521.

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The article is devoted to the study of the history of theatrical therapy in the no-si ritual drama. It is shown that, in general, the ritual elements of the no-si drama can be used in modern drama therapy. In addition, dramatic therapy, which is implied by the author in this article, is somewhat different from the modern concept of psychodrama, since it covers large areas of the human psyche. The author believes that it is not necessary to completely ignore this complex area of human culture, because regardless of function or form, dramatic therapy is closely related to the shamanic ritual of healing. The formation of the Chinese national drama took place in the context of the historical development of China. Having originated in the most ancient forms of shamanic rituals, the theatrical performance has evolved into a unique stage genre. Along with other earliest theatrical forms such as ancient Greek theater and ancient Indian drama, Chinese opera originated several centuries before our era, but unlike them it has survived to this day almost unchanged. Now Chinese traditional opera occupies an important place in the list of intangible heritage not only of China itself, but also of the whole world. One of the most important milestones in the development of theatrical art in China was the ritual drama "no-si", which today the ritual drama no-si in China is called a real "living fossil", because it is the oldest cultural form that has come down to us through the centuries. Archaic religious rituals, reflected in modern theatrical performances, testify to the mixing and syncretization of various religious traditions, including no-rituals and no-si drama, and modernity. The current generation is successfully modernizing the tradition of its ancestors in accordance with the times, preserving it in the centuries-old cultural memory of its people.

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Li, Wanlin. "Fruitless Search for Coherence: A Transcultural Perspective on Netflix’s Adaptation of Empresses in the Palace." Style 56, no. 3 (August 1, 2022): 190–210. http://dx.doi.org/10.5325/style.56.3.0190.

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ABSTRACT Structuralist narratology, which has played an instrumental part in the historical development of adaptation studies, now faces increasing criticism from culturally oriented scholars for its disregard of contextual factors. My essay argues that postclassical developments of narratology, which recognize culture as a powerful shaping force of narrative form, can effectively address the enduring bifurcation between formal and cultural approaches in adaptation studies. It uses the transpacific adaptation of a Chinese TV drama, renamed Empresses in the Palace by its Netflix adapters, as a case study to show how some of the important narrative transmutations are both motivated by and symptomatic of clashes between specific aspects of the Chinese and the American cultures. My discussion demonstrates that transcultural comparisons can not only foster understanding of adaptations as cultural encounters with inevitable narrative consequences, but also open up new space for the appreciation of other cultures, and provide fresh perspectives on one’s own cultural and narrative traditions.

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Wang, Zhibo. "Liuqin Drama’s Origin and Early Development." European Scientific Journal, ESJ 12, no. 26 (September 30, 2016): 211. http://dx.doi.org/10.19044/esj.2016.v12n26p211.

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Liuqin Drama did not have a long history. It started from Qing Dynasty. It did not have a glorious background. It actually started from begging. Yet its singing is marvelous. Its early name was “Lahun” Tune, which literally meant “soul-pulling” Tune in Chinese. Its attraction is enormous, and with generations of accumulation of artistic culture, it has become one of the major genres of folk drama of Southern Shandong, Northern Jiangsu and Northeastern Anhui Province. This paper introduces the beginning and the later development of the Liuqin Drama.

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M, Kavitha. "Nachinarkiniyar History and Textual Ability." International Research Journal of Tamil 4, S-8 (July 21, 2022): 233–38. http://dx.doi.org/10.34256/irjt22s834.

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Tamil language and literature have flourished with speeches composed by speechwriters. Are greatly aiding researchers who think innovatively. Texts serve as a bridge between linguistic research and e-literary criticism. The texts convey how the Tamil language has changed over time, as well as the living conditions, political changes and customs of the Tamil people. This article explores the history and textual ability of Nachinarkiniyar. Nachinarkiniyar was a knowledgeable and knowledgeable man of various arts, writing semantics for songs, and also possessing the art of religious ideas, music, drama, etc., which are included in the book. He is well versed in grammar, literature, dictionary, epic and puranam in Tamil. He is well versed in astrology, medicine, architecture, and crops. Nachinarkiniyar, who has written for Tamil grammar books, is well versed in the Vedic and phylogenetic theory of Sanskrit and is a university-oriented scholar of Tamil, Sanskrit scholarship, religious knowledge, land book knowledge, life and biology. This article explores the history and textual ability of Nachinarkiniyar.

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Ling, Chao. "Chinese Tradition in the World Literature: Review of Zhang Longxi's A History of Chinese Literature." Journal of Foreign Languages and Cultures 7, no. 1 (June 28, 2023): 072–76. http://dx.doi.org/10.53397/hunnu.jflc.202301008.

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This essay reviews Zhang Longxi’s A History of Chinese Literature. The book covers Chinese literature from its very beginning to modern times. It emphasizes texts’ literary and aesthetic qualities when evaluating and historicizing literature. The book demonstrates the importance of canons in literary history, using Chinese tradition as an example. Therefore, it also brings the Chinese tradition into the broader framework of world literature. Reading Zhang’s concise historical overview of Chinese literature, we can better understand the interplay between literary tradition and the individual talent. Zhang Longxi has skillfully combined the writing of a history of literature with literary criticism in this book. Zhang’s successful attempt informs literary scholars of possible paradigms of compiling literary history in a post-cultural-studies theoretical context.

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Thorpe, Ashley. "After Thought: Archiving Absence through a Practice-as-Research Production of Xiong Shiyi’s Lady Precious Stream." TDR/The Drama Review 63, no. 1 (March 2019): 83–99. http://dx.doi.org/10.1162/dram_a_00818.

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Lady Precious Stream is the most globally successful Chinese play in history. A practice-as-research project investigated how Chinese drama aesthetics might have been used in the original production. This revealed that gaps in archival material open up a space where the subjective nature of interpretation can be interrogated.

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