Women in Traditional Chinese Theatre seeks to introduce Western readers to Chinese classical drama as well as investigate how women have traditionally been portrayed on stage by presenting original translations of six plays from the fourteenth to twentieth centuries. Framed with a comprehensive introduction to the Chinese theatre and its representation of women, each play is preceded by an interpretative summary of the plot, and an analysis of each play's theme and significance. The selections in this volume feature women representing the most popular female archetypes in Chinese literature: the paragon of virtue, the stoic sufferer, the faithful wife, the femme fatal, and others. Appealing to both scholars and general enthusiasts of theatre, literature, and women's studies, this book reveals how the cultural constructs of Chinese women are represented in dramatic literature, and how the theatre, in turn, shapes this representation into the cultural perception of women.

Chinese opera has a history of over 800 years. However, since the early twentieth century, following increased contact with the West, drama without music has also become popular in China. The development and prosperity of modern drama has created a new landscape for Chinese theater, which, as a whole, has become more diverse.

The world of traditional Chinese drama can be at once fascinating and bewildering to the uninitiated Western observer. Attuned to his own dramatic conventions, he is hard put to apprehend the delicate fusion of poetry, music, and subtle gesture which is the essence of Chinese theatre. Because of these difficulties, the task of translating traditional Chinese drama must go far beyond the conventional literary treatment and evoke the entire world of stagecraft and directing.

This book examines male dan, a male actor who performs female roles in Chinese theatre. Through the rise, fall and tenuous survival of male dan in Chinese history, Guo Chao reflects the transformations in the social zeitgeist in China, especially the politics of gender and sexuality. The breadth of this study reflects a diversified set of sources, ranging from classical to contemporary texts (texts of jingju plays, memoirs, collections of notation books) and other commentaries and critical evaluations of dan actors (in both English and Chinese languages) to video and audio materials, films and personal interviews. This book will be of great interest to students and scholars of East Asian/Chinese studies across the fields of theatre, history, culture and literature.

The world of traditional Chinese drama can be at once fascinating and bewildering to the uninitiated Western observer. Attuned to his own dramatic conventions, he is hard put to apprehend the delicate fusion of poetry, music, and subtle gesture which is the essence of Chinese theatre. Because of these difficulties, the task of translating traditional Chinese drama must go far beyond the conventional literary treatment and evoke the entire world of stagecraft and directing. Longing for Worldly Pleasures (Ssu Fan) is a lyric monologue in which a young Buddhist laments the waning of her youth in the seclusion of the convent. The brief piece involves a complexity of mood which makes it an actor's tour de force, undertaken only by the most highly skilled performers. Fifteen Strings of Cash (Shih Wu Kuan), a much longer play, is a comic murder mystery satirizing bureaucratic ineptitude in the administration of justice. The comic lead role of Lou the Rat is a virtuoso part which illustrates the intricate mimetic art of the traditional comic actor and was the play's main appeal to Chinese audiences.

The world of traditional Chinese drama can be at once fascinating and bewildering to the uninitiated Western observer. Attuned to his own dramatic conventions, he is hard put to apprehend the delicate fusion of poetry, music, and subtle gesture which is the essence of Chinese theatre. Because of these difficulties, the task of translating traditional Chinese drama must go far beyond the conventional literary treatment and evoke the entire world of stagecraft and directing.

The value of the book is not limited to the scope of Shakespeare studies and comparative literature. With the combination of the literary criticism and sociological approach, it describes and investigates a variety of social and psychological phenomena in the process of cultural exchange between the West and the East. The book also provides a brief view of the social, political, and historical changes in modern China for Western readers.

A reclusive painter living in exile in Paris, Gao Xingjian found himself instantly famous when he became the first Chinese language writer to receive the Nobel Prize for Literature (2000). The author of the novel Soul Mountain, Gao is best known in his native country not as a visual artist or novelist, but as a playwright and theater director. This important yet rarely studied figure is the focus of Sy Ren Quah’s rich account appraising his contributions to contemporary Chinese and World Theater over the past two decades. A playwright himself, Quah provides an in-depth analysis of the literary, dramatic, intellectual, and technical aspects of Gao’s plays and theatrical concepts, treating Gao’s theater not only as an art form but, with Gao himself, as a significant cultural phenomenon. The Bus Stop, Wild Man, and other early works are examined in the context of 1980s China. Influenced by Stanislavsky, Brecht, and Beckett, as well as traditional Chinese theater arts and philosophies, Gao refused to conform to the dominant realist conventions of the time and made a conscious effort to renovate Chinese theater. The young playwright sought to create a "Modern Eastern Theater" that was neither a vague generalization nor a nationalistic declaration, but a challenge to orthodox ideologies. After fleeing China, Gao was free to experiment openly with theatrical forms. Quah examines his post-exile plays in a context of performance theory and philosophical concerns, such as the real versus the unreal, and the Self versus the Other. The image conveyed of Gao is not of an activist but of an intellectual committed to maintaining his artistic independence who continues to voice his opinion on political matters.

This volume is the first concise introduction to the splendid variety of the Chinese theatrical tradition. It presents a rounded perspective on the development of Chinese theater by considering all of its major aspects—history and social context, performance, costume, makeup, actors, playwrights, and theaters—and by discussing all the major forms of Chinese theater, including the Beijing opera, which arose in the eighteenth century, and the spoken play, an entirely twentieth-century form. Its contributors are uniquely qualified to write about the Chinese theater. They have enjoyed an intimate relationship with their subject, both as academics and as theater workers, and they have combined a deep knowledge of Chinese theater with a high regard for its long tradition and continuing vitality. The book is intended for general as well as more specialized readers. Those with an interest in theater as a worldwide phenomenon and those wanting a new light on Chinese culture and society will find it equally useful. To those with a particular interest in Chinese theater, it will be a rich and important resource.