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.

""A vertitable feast of concise, useful, reliable, and up-to-dateinformation (all prepared by top scholars in the field), Nienhauser's now two-volumetitle stands alone as THE standard reference work for the study of traditionalChinese literature. Nothing like it has ever been published."" --Choice The second volume to The Indiana Companion to TraditionalChinese Literature is both a supplement and an update to the original volume. VolumeII includes over 60 new entries on famous writers, works, and genres of traditionalChinese literature, followed by an extensive bibliographic update (1985-1997) ofeditions, translations, and studies (primarily in English, Chinese, Japanese, French, and German) for the 500+ entries of Volume I.

"Presents stories of kings and queens, generals, battles, and courtiers from the Zhou Dynasty, when China was ruled by kings from 1046 BC to 221 BC. It was the period before the country was unified under a single emperor, when each state schemed to become more powerful than its neighbor, leading to many exciting stories populated by famous historical figures"--Jacket.

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 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.

In Kunqu: A Classical Opera of Twenty-First-Century China, Joseph S. C. Lam offers a holistic and interdisciplinary view on kunqu, a 600-year-old genre of Chinese opera that is being fashionably performed inside and outside of China. He explains how and why the genre charms and signifies Chinese culture, history, and personhood. As the first comprehensive and scholarly book on kunqu written in English, the book not only discusses the genre in cultural and historical terms but also analyzes its shows as performative, cultural, social, and political communications. It approaches the genre from several perspectives, ranging from those of performers and producers to those of casual audience, dedicated connoisseurs, and scholarly critics. Lam also employs a judicious blend of Chinese and international theories and methods. Through this comprehensive study of kunqu, Lam has established the significance of the genre not only in the sphere of Chinese music, but also among the cultural heritage and performing arts at a global level. “This work would be of terrific interest to amateur kunqu performers and to kunqu supporters. It will also be an essential reference work for scholars conducting research not only on kunqu, but on all forms of Chinese opera, particularly as they are being performed contemporarily.” —Nancy Guy, UC San Diego; author of Peking Opera and Politics in Taiwan “It is the first book-length work devoted to studying kunqu opera from historical and ethnomusicological perspectives. At the same time, the study engages various sociocultural theories and methods of humanities studies. It will be a significant addition to the scholarships of ethnomusicology, Chinese cultural history, Chinese drama, and theater/performance studies.” —Yung Sai-shing, National University of Singapore

Playwrights and Literary Games in Seventeenth-Century China: Plays by Tang Xianzu, Mei Dingzuo, Wu Bing, Li Yu, and Kong Shangren is a full-length study of chuanqi (romance) drama, a sophisticated form with substantial literary and meta-theatrical value that reigned in Chinese theater from the sixteenth to eighteenth centuries and nourished later theatrical traditions including jingju (Beijing Opera). Highly educated dramatists used chuanqi to present in artistic form personal, social, and political concerns of their time. There were six outstanding examples of these trends, considered masterpieces in their time and ever since. This study presents them in their social and cultural context during the long seventeenth century (1580D1700), the period of great experimentation and political transition. The romantic spirit and independent thinking of the late Ming elite stimulated the efflorescence of the chuanqi, and that legacy was inherited and investigated during the second half of the seventeenth-century in early Qing. Jing Shen examinees the texts to demonstrate that the playwrights appropriate, convert, or misinterpret other genres or literary works of enduring influence into their plays to convey subtle and subversive expressions in the fine margins between tradition and innovation, history and theatrical re-presentation. By exploring the components of romance in texts from late Ming to early Qing, Shen reveals creative readings of earlier themes, stories, plays and the changing idea of romanticism for chuanqi drama. This study also shows the engagement of literati playwrights in closed literary circles in which chuanqi plays became a tool by which literati playwrights negotiated their agency and social stature. The five playwrights whose works are analyzed in this book had different experiences pursuing government service as scholar-officials; some failed to achieve high office. But their common concerns and self-conscious literary choices reveal important insights into the culture of the seventeenth century, and into the sociopolitical implications of the chuanqi genre. In addition to classical Chinese commentaries on chuanqi drama, this book uses modern critical theories and terminology on Western drama to enhance the analysis of chuanqi plays.

Explores the history and lingering effects of governmental reform of Chinese theater, post-1949

Acting (Re)Considered is an exceptionally wide-ranging collection of theories on acting, ideas about body and training, and statements about the actor in performance. This second edition includes five new essays and has been fully revised and updated, with discussions by or about major figures who have shaped theories and practices of acting and performance from the late nineteenth century to the present. The essays - by directors, historians, actor trainers and actors - bridge the gap between theories and practices of acting, and between East and West. No other book provides such a wealth of primary and secondary sources, bibliographic material, and diversity of approaches. It includes discussions of such key topics as: * how we think and talk about acting * acting and emotion * the actor's psychophysical process * the body and training * the actor in performance * non-Western and cross-cultural paradigms of the body, training and acting. Acting (Re)Considered is vital reading for all those interested in performance.