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Books on the topic 'Shakespeare in China'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

Levith, Murray J. Shakespeare in China. London: Continuum, 2004.

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2

Shakespeare in China. London: Continuum, 2006.

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3

Shashibiya: Staging Shakespeare in China. Hong Kong: Hong Kong University Press, 2003.

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4

Xianqiang, Meng. A historical survey of Shakespeare in China. Changchun: Shakespeare Research Centre of Northeast Normal University, 1996.

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5

International conference on Shakespeare in China - performance and perspectives (1999 Shanghai, China). Shakespeare in China: Performance and perspectives : a collection of theses. Shanghai: [Shanghai Theatre Academy], 1999.

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6

Zhang, Hsiao Yang. Shakespeare in China: A comparative study of two traditions and cultures. Newark: University of Delaware Press, 1996.

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7

Zhongguo Sha xue jian shi: Shakespeare in China : a brief history / by Meng Xianqiang. Changchun Shi: Dongbei shi fan da xue chu ban she, 1994.

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8

Chinese Shakespeares: Two centuries of cultural exchange. New York: Columbia University Press, 2009.

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9

Shakespeare in China. Bloomsbury Publishing Plc, 2004. http://dx.doi.org/10.5040/9781472555274.

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10

Liu, Houling. Shakespeare in China, 1986. Shanghai, 1987.

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11

Chen, Mei. Shakespeare in China, 1989-90. Shanghai, 1991.

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12

Ruru, Li. Shashibiya: Staging Shakespeare in China. Hong Kong University Press, 2004.

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13

Liu, Houling. Shakespeare in China, 1984-1985. Shanghai, 1986.

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14

1616: Shakespeare and Tang Xianzu's China. 2016.

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15

Shashibiya zai Zhongguo =: Shakespeare in China. Xin hua shu dian jing xiao, 1987.

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16

Tan, Tian Yuan, Paul Edmondson, and Shih-pe Wang, eds. 1616: Shakespeare and Tang Xianzu’s China. Bloomsbury Publishing Plc, 2016. http://dx.doi.org/10.5040/9781472587206.

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17

Nancy, Pellegrini. People's Bard: How China Made Shakespeare Its Own. Penguin Group (China), 2016.

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18

[Programmes for performances at the First Shakespeare Festival of China, 1986]. [Changchun]: [Kirin University], 1986.

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19

Li, Ruru. Shashibiya: Staging Shakespeare in China (The New Hong Kong Cinema Series). Hong Kong University Press, 2004.

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20

Huang, Alexander. Chinese Shakespeares: Two Centuries of Cultural Exchange. Columbia University Press, 2009.

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21

Ruru, Li. There Is a World Elsewhere. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.22.

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Abstract:

Exploring the polarized opinions of the general public, scholars, and theatre professionals within China, and between China and Britain, on the Chinese Shakespeare Great General Kouliulan (Coriolanus)—which combines spoken drama with rock ’n’ roll—this chapter revisits many questions that have been raised in the debate over intercultural theatre. Why are theatre practitioners interested in producing an intercultural piece? How does it happen and what do artists do? Who benefits from doing intercultural work, and for whom is it intended? Is ‘process’ necessarily more important than ‘outcome’, and is there too much emphasis on ‘we’ and ‘others’ in the debate rather than on the created work at the end of the process? Lin Zhaohua’s Coriolanus serves as the case study in the chapter but other modern spoken drama productions and traditional song-dance theatre adaptations are also mentioned to offer readers a broader understanding of Shakespeare on the Chinese stage.

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22

Ramsay, Stephen. Potential Readings. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036415.003.0003.

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This chapter takes up the literary critical analogues to the poetics of constraint. It examines how the notion of “deformance” provides the critical framework for a discussion of conventional criticism as an activity dependent upon the notions of constraint, procedure, and alternative formation. It is in this light that computationally enacted textual transformations reveal themselves most clearly as self-consciously extreme forms of those hermeneutical procedures found in all interpretative acts. In addition, close analysis of several apparently diverse critical works—from readings of the I Ching and Saussure's anagrams to medieval poetry and Shakespearean sonnets—reveals the essential deformative nature of critical reading.

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