Relevant bibliographies by topics / Theater Theater Chinese drama

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Theater Theater Chinese drama'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Theater Theater Chinese drama"

1

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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Kaidi, Wang. "CULTURAL CONTACTS BETWEEN RUSSIA AND CHINA IN THE FIELD OF MUSIC AND DRAMA THEATER (50s of the XXth century)." Arts education and science 1, no. 2 (2021): 99–106. http://dx.doi.org/10.36871/hon.202102012.

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The article is devoted to the cultural cooperation between the USSR and the People's Republic of China in the field of musical theater. The Treaty of Friendship, Alliance and Mutual Assistance between these two countries, signed in Moscow on February 14, 1950, became a starting point in the development of cultural contacts. The most productive period was from 1949 to early 1960s. An important marker of the development of Soviet-Chinese cultural relations was the tour of theater troupes from both countries to the Soviet Union and the Celestial Empire. The Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater team visited China in 1954, and later the artists of the Shaoxing Opera and the Shanghai Theater of Beijing Musical Drama demonstrated their art in Russian cities. The two countries' directors showed mutual interest in the classical opera art of their counterparts: in Beijing and Tianjin P. I. Tchaikovsky's "Eugene Onegin" and "The Queen of Spades" were performed by Chinese singers, while in Russian cities the traditional Chinese theatre plays "The Spilled Cup" and "The Grey-Haired Girl" were staged by Russian artists.
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Komilova, Shahnoza. "Themes Of Chinese Dramas (30-40 Years In The First Half Of Thetwentieth Century)." American Journal of Social Science and Education Innovations 02, no. 10 (October 29, 2020): 189–94. http://dx.doi.org/10.37547/tajssei/volume02issue10-31.

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Budaeva, T. B. "Svetlana A. Serova on Life, Science and Chinese Traditional Theater." Journal of the Institute of Oriental Studies RAS, no. 1 (11) (2020): 186–97. http://dx.doi.org/10.31696/2618-7302-2020-1-186-197.

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The names of specialists in Russian Sinology associated with independent research area are rare. This short list includes Svetlana A. Serova, a sinologist, theater historian, and theater expert, who devoted her academic endeavor to Chinese traditional theater. Deep historical roots of the Chinese theater, specifics in the simultaneous coexistence of dozens of its regional varieties, completely different from Western aesthetic views, stage embodiment and perceptions of this theatrical art — these are just some of the common features inherent in the genre of traditional theater. In Svetlana A. Serova’s seven monographs Chinese theater consistently appeared in its most diverse forms. Among them are genres of Beijing musical drama Jingju and Kunshan drama Kunqu (both became popular nationwide), acting skills and stage art, creative views of playwrights who influenced the development of Chinese theater as a whole, historical retrospectives up to the ancient ritual origins of the theater, parallels with Western theater, etc. It is obvious, that even the most objective and impartial scientific work is the result of not only professionalism, but also the personality of the scientist, his worldview. But when we deal with such a subtle and ephemeral matter as art, the author involuntarily steps at the avant scène, being forced to pass all the material through himself. Therefore, our interest in a researcher of such magnitude as Svetlana A. Serova is dictated not by a common interest, but rather by a need to understand her life values, providing additional opportunity to obtain more holistic view of her heritage.
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Knapp, Bettina L., and Haiping Yan. "Theater & Society: An Anthology of Contemporary Chinese Drama." World Literature Today 74, no. 1 (2000): 237. http://dx.doi.org/10.2307/40155534.

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Mackerras, Colin. "Theater and Society: An Anthology of Contemporary Chinese Drama (review)." China Review International 7, no. 2 (2000): 564–68. http://dx.doi.org/10.1353/cri.2000.0092.

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Wichmann-Alczak, Elizabeth. "Theater and Society: An Anthology of Contemporary Chinese Drama (review)." Theatre Journal 54, no. 2 (2002): 325–26. http://dx.doi.org/10.1353/tj.2002.0066.

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Chuo, Mei-Hsiu. "Innovation Drama Teaching of “New Pinocchio” in Chinese Language Learning: Action Research." PAROLE: Journal of Linguistics and Education 9, no. 1 (April 30, 2019): 24. http://dx.doi.org/10.14710/parole.v9i1.24-30.

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The prevalence of learning Chinese in the United States is very popular with the learning Chinese language throughout the world. This atmosphere is very encouraging for children in Chinese schools and improves their learning motivation. This research is action research and the purpose of this study is (1) to explore the current situation of teaching Chinese in the United States and to answer the research questions based on the reaction and self-reflection of young children, (2) to revise teaching materials and teaching methods during the research, (3) to utilize the innovation story theater model into the Chinese curriculum of the bilingual school in USA, and (4) to find out the suggestions and feasible solutions to the various problems. The research found that if learning activities are intrinsically attractive there is no need to arrange any games to motivate children's learning. Moreover, the findings show that the innovative story theater is very practical and can effectively enhance children's interest in learning Chinese
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Ванг Юй. "БАГАТОВИМІРНІСТЬ ВТІЛЕНЬ СЮЖЕТУ ТУРАНДОТ В ЖАНРІ ТЕАТРАЛЬНОЇ МУЗИКИ." World Science 3, no. 3(43) (March 31, 2019): 34–44. http://dx.doi.org/10.31435/rsglobal_ws/31032019/6419.

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The article deals with the historical projection of the 300-year-old path of the Turandot image in the genre of theatrical music. After completing all the stages of European exoticism in Chinese subjects, Turandot was embodied in the main stages of the development of musical drama - from the baroque French Fair Theater Fory Saint-Lauren (Le Sage / d'Orneval for the first time analyzed music by J.C. Gillіer) through the pre-classical model of Italian folk (K. Gozzi) to the concept of German romanticism (F. Schiller ‒ F. Destush, K.M. Weber, W. Lyahner), oriental readings of the early modern days: neoclassical (F. Buzoni), symbolist (W. Ferst), primitive-naive (Y. Vakhtangov), psychologically-expressionistic (W. Stenhammar), household-entertaining variants (Broadway Theater) and complex multicomponent phenomena of the second half of the twentieth century, embodied in the "epic theater" (B. Brecht / H. D. Hosalla, Y. Lakner, A. Schnitke) and means "Theater of absurd" (W. Hilderschmayer), based on postmodernistic parameters of hybrid genre formations in Ukrainian culture (M. Denisenko, I. Uryvskiy) in the globalized reference of intercultural communication of the beginning of the third millennium.
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Conceison, Claire. "Theater and Society: An Anthology of Contemporary Chinese Drama, and: The Chinese Other, 1850-1925: An Anthology of Plays (review)." Asian Theatre Journal 17, no. 1 (2000): 135–38. http://dx.doi.org/10.1353/atj.2000.0002.

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Dissertations / Theses on the topic "Theater Theater Chinese drama"

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Zhu, Minqi 1953. "Literary motifs in traditional Chinese drama." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290589.

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The purpose of this dissertation is to examine some of the distinctive qualities of traditional Chinese drama in light of comparative studies in literature and drama, especially of Richard Wagner's theory of motifs. Opposed to realism, Wagner argued that music is necessary to the finest drama, for it should be "distanced" from actual life. Wagner intended to fuse all artistic arts into his "music drama." However such drama has existed in China for at least seven hundred years. Moreover, it still keeps vigorously springing up, and greatly manifesting its vitality. The hypothesis of this dissertation is that traditional Chinese theatre has been able to survive through the historical sediment primarily due to the influence of literary motifs that have sustained the vitality of the old dramatic form. This dissertation is based on the research of three theatrical aspects: drama-in-itself, dramatic creation, and dramatic appreciation. For the area that is called "dramatic-in-itself" it deals with the general function of dramatic presentation, either for the sake of art or for moral education; for dramatic creation, it emphasizes on playwrights and their worldview of dramatic creation; and for dramatic appreciation, it examines the viewpoint of the audience. Traditional Chinese drama is a high synthesis of arts. The chief factors that promoted the formation of this art are the literary motifs resulting from the Chinese cultural tradition. Literary motifs can be traced in almost every aspect of Chinese drama: in dramatic purpose, in language, in music, in acting, in dress-up, and in stage scenery. Every aspect of Chinese drama is marked with Chinese national traits. And all these dramatic elements constitute a complexity that incorporated both representational and presentational qualities. This complexity has turned Chinese drama into a uniquely mixed art, long-lasting and durable. This dissertation will explore how literary motifs work in traditional Chinese drama. It will primarily focus conventions of music composition, poetry tradition, dramatic structure, thematic construction and theatrical movements.
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Diamond, Catherine Theresa Cleeves. "The role of cross-cultural adaptation in the "Little Theater" movement in Taiwan /." Thesis, Connect to this title online; UW restricted, 1993. http://hdl.handle.net/1773/6650.

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Jang, Ren-Hui. "Traditional Chinese theatre for modernized society a study of one "new" Chinese opera script in Taiwan /." online access from Digital Dissertation Consortium access full-text, 1989. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?8913981.

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Saxon, Belinda Sue. ""Borrowing from the east" a study of types of Western theater adaptations of Chinese opera, Japanese noh, and kabuki /." online access from Digital Dissertation Consortium access full-text, 1992. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?1351076.

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Lo, Chia-Yu. "Using participatory drama to teach Chinese stories in British primary schools." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/57921/.

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This study explores how British children make sense of traditional Chinese stories through participatory drama, by means of physical and verbal responses. The author conducted her fieldwork through teaching identical drama schemes within two demographically and ethnically distinctive primary schools. The key underpinning methodological approach within the study is ethnographic case studies. The field work lasted one term in each school, with between 13 to 15 hours of teaching time per group. The methods for collecting data included the pre-questionnaire and interviews with children, as well as the following: drama conventions such as forum theatre and still images, visual and image evidence captured by video camera and photography, children’s writing and drawing, a post-evaluation sheet, interviews with teachers, participant observations and field notes. The analysis of qualitative data is presented in two interwoven threads. One thread follows the logic of the ethnographic approach to present the findings of each scheme of work in both schools, in chronological order. The other thread is a thematic analysis, based on grounded theory. These methods may be seen to be integral and complementary to one another. In essence, the author suggests that drama education is a practical model for the pursuit of cosmopolitan education within the modern globalised world. Some limitations and constraints in the research are nonetheless discussed, and pertinent alternatives and improvements are presented. Suggestions for future researchers who wish to conduct similar research projects are provided, and the potential for this research to be extended on a larger scale is indicated.
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Wen, I.-chun. "THE EFFECTIVENESS OF LEARNING THROUGH DRAMA IN TEACHING CHINESE AS A SECOND LANGUAGE." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1435882138.

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岑金倩 and Kam-sin Shum. "A study of female characters in modern Chinese historicaldrama (1911-1949)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31214605.

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He, Man. "Chinese Play-Making: Cosmopolitan Intellectuals, Transnational Stages, and Modern Drama, 1910s-1940s." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429737192.

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Xu, Junying. "From Page to Page to Stage: Translation and Dramaturgy Issues of Once upon a Rainy Night." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1219348310.

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Scheurer, Pamela Kay. ""A thousand Joans" : a teacher case study drama in education a process of discovery /." Connect to resource, 1996. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243354659.

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Books on the topic "Theater Theater Chinese drama"

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Historical dictionary of Chinese theater. Lanham, Md: Scarecrow Press, 2008.

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Baozhen, Song. Modern Chinese drama. Edited by Wang Weiguo, Yang Liping, and Tian Benxiang. Beijing: Culture and Art Publishing House, 1999.

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Shuyun, Fu, Cao Juan, and Kuang Peihua, eds. Chinese theatre. Beijing: Culture and Art Publishing House, 1999.

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Chinese drama: A historical survey. Beijing, China: New World Press, 1990.

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Chinese theater in the days of Kublai Khan. Ann Arbor, Mich: Center for Chinese Studies, University of Michigan, 1990.

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Women in traditional Chinese theater: The heroine's play. Lantham, MD: University Press of America, 2006.

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Chinese theater: Happiness and sorrows on the stage. Beijing: China Intercontinental Press, 2010.

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Chinese traditional drama: A mirror of values. Manila, Philippines: UST Pub. House, 2000.

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Kaiserliches Theater, Theater ohne Kaiser?: Die Gründung der Han-Dynastie in zaju-Stücken der Ming-Dynastie. Wiesbaden: Harrassowitz Verlag, 2014.

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Xingjian, Gao. Nächtliche Wanderung: Reflektionen über das Theater. Neckargemünd: Edition Mnemosyne, 2000.

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Book chapters on the topic "Theater Theater Chinese drama"

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Xiao, Yingbo, and Min Ni. "The Shanxi Grand Theater: The “Renaissance” of Chinese Drama Land." In Grand Theater Urbanism, 149–78. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-7868-3_7.

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Drewes, Miriam. "Theater jenseits des Dramas: Postdramatisches Theater." In Handbuch Drama, 72–84. Stuttgart: J.B. Metzler, 2012. http://dx.doi.org/10.1007/978-3-476-00512-0_6.

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Kittstein, Ulrich. "Episches Theater." In Handbuch Drama, 296–304. Stuttgart: J.B. Metzler, 2012. http://dx.doi.org/10.1007/978-3-476-00512-0_31.

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Schößler, Franziska. "Drama und Theater." In Einführung in die Dramenanalyse, 1–18. Stuttgart: J.B. Metzler, 2012. http://dx.doi.org/10.1007/978-3-476-00505-2_1.

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Odegaard, Marianne. "Science Theater/Drama." In Encyclopedia of Science Education, 928–30. Dordrecht: Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-007-2150-0_336.

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Herrmann, Leonhard, and Silke Horstkotte. "Drama und Theater." In Gegenwartsliteratur, 161–76. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05464-7_10.

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Odegaard, Marianne. "Science Theater/Drama." In Encyclopedia of Science Education, 1–3. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-6165-0_336-3.

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Niefanger, Dirk. "Drama und Theater." In Barock, 139–83. Stuttgart: J.B. Metzler, 2006. http://dx.doi.org/10.1007/978-3-476-00180-1_6.

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Alt, Peter-André. "Drama und Theater." In Aufklärung, 167–246. Stuttgart: J.B. Metzler, 2007. http://dx.doi.org/10.1007/978-3-476-00317-1_4.

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Stöckmann, Ingo. "Drama und Theater." In Naturalismus, 88–137. Stuttgart: J.B. Metzler, 2011. http://dx.doi.org/10.1007/978-3-476-00338-6_6.

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Conference papers on the topic "Theater Theater Chinese drama"

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Zeglin, Garth, Aaron Walsman, Laura Herlant, Zhaodong Zheng, Yuyang Guo, Michael C. Koval, Kevin Lenzo, et al. "HERB's Sure Thing: A rapid drama system for rehearsing and performing live robot theater." In 2014 IEEE Workshop on Advanced Robotics and its Social Impacts (ARSO). IEEE, 2014. http://dx.doi.org/10.1109/arso.2014.7020993.

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Wenfu, Xu, Zheng Yanning, and Pan Erzhen. "Design and simulation of a turtle performing robot for robotic theater." In 2015 34th Chinese Control Conference (CCC). IEEE, 2015. http://dx.doi.org/10.1109/chicc.2015.7260586.

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