A P P E N D I X 1

Chronology of

Plays Discussed in the Book

242

Pre

mi è

re

Tit

le

Com

pany

Pl

ayw

righ

t D

irec

tor

Stag

e D

esig

ner/

Scen

ogra

pher

1980

Hez

hu’s

New

Mat

ch

Lan

-lin

g T

heat

re W

orks

hop

Jin

Shiji

eJi

n Sh

ijie

Xu

Ron

gcha

ng (

prop

/cos

-tu

me

desi

gn)

1982

Abs

olut

e Si

gnal

B

eijin

g Pe

ople

’s A

rt T

heat

reG

ao X

ingj

ian,

Liu

H

uiyu

anL

in Z

haoh

uaH

uang

Qin

gze

1993

Can

Thr

ee M

ake

It?

Part

II

I—O

h! T

hree

Div

erge

d Pa

ths

Pin

g-Fo

ng A

ctin

g T

roup

eL

i Guo

xiu

Li G

uoxi

uZ

hang

Yic

heng

1996

Shan

g Y

ang

Shan

ghai

Dra

mat

ic A

rts

Cen

tre

Yao

Yuan

Che

n X

inyi

Hua

ng H

aiw

ei

1996

Peki

ng O

pera

: The

R

evel

atio

n P

ing-

Fong

Act

ing

Tro

upe

Li G

uoxi

uL

i Guo

xiu

Nie

Gua

ngya

n

1998

Thr

ee S

iste

rs &

Wai

ting

for

God

ot

Lin

Zha

ohua

The

atre

Stu

dio

Ant

on C

hekh

ov/

Sa

mue

l Bec

kett

Lin

Zha

ohua

Yi L

imin

g

1999

Fiel

d of

Lif

e an

d D

eath

C

entr

al E

xper

imen

tal

The

atre

Tia

n Q

inxi

n (a

dapt

er)

Tia

n Q

inxi

n X

ue D

ianj

ie a

nd

Wan

g H

anyi

20

01 R

icha

rd I

II

Lin

Zha

ohua

The

atre

Stu

dio

Will

iam

Sha

kesp

eare

Lin

Zha

ohua

Hua

ng H

aiw

ei20

01 W

e A

re O

ne F

amil

y H

ong

Kon

g R

eper

tory

T

heat

reH

e Ji

ping

Fred

ric

Mao

Ho

Yin

gfun

g

2003

Swee

t & S

our

Hon

g K

ong

Hon

g K

ong

Rep

erto

ry

The

atre

He

Jipi

ngFr

edri

c M

aoH

o Y

ingf

ung

2005

The

Bal

lad

of Y

ello

w E

arth

D

ram

a T

roup

e at

tach

ed t

o th

e Po

litic

al D

epar

tmen

t of

th

e PL

A

Men

g B

ing

Hu

Zon

gqi

Hua

ng H

aiw

ei

2006

The

Mas

ter

Bui

lder

L

in Z

haoh

ua T

heat

re S

tudi

oH

enri

k Ib

sen

Lin

Zha

ohua

Yi L

imin

g

243

2006

Flow

ers i

n th

e M

irro

r, M

oon

on t

he W

ater

N

atio

nal T

heat

re o

f Chi

na/

M

eng

Jing

hui S

tudi

oX

i Chu

an (

poem

s);

Lia

o Y

imei

(dra

ma-

turg

y); c

ast

Men

g Ji

nghu

iFe

ng J

iang

zhou

(vi

sual

de

sign

and

mul

tim

edia

) w

ith

cont

ribu

tion

s by

She

n Sh

aom

in, J

iang

Zhi

, Jia

ng

Jie,

Oliv

er L

yons

2006

The

Sav

age

Lan

d T

ianj

in P

eopl

e’s

Art

The

atre

Cao

Yu

Wan

g Ya

nson

gL

iu K

edon

g20

08 T

he S

tory

of t

he D

eer

and

the

Cau

ldro

n Sh

angh

ai D

ram

atic

Art

s C

entr

eN

ing

Cai

shen

He

Nia

nSa

ng Q

i

2008

Lu

Xun

200

8 G

rass

Sta

ge, B

ody

Phas

e St

udio

(T

aiw

an),

Da-

M

The

atre

(To

kyo)

and

Cla

sh

The

atre

(H

ong

Kon

g)

Ada

ptat

ion

by

Com

pany

mem

bers

Zha

o C

huan

, W

ang

Mol

in,

Hir

oshi

O

hash

i and

To

ng S

ze

Hon

g

Zha

o C

huan

2008

Squa

t G

rass

Sta

geL

i Ang

, ada

pted

by

Zha

o C

huan

Zha

o C

huan

Zha

o C

huan

2009

Arc

hive

s of L

ife

Dra

ma

Tro

upe

atta

ched

to

the

Polit

ical

Dep

artm

ent

of t

he P

LA

Men

g B

ing

Wan

g H

ong

Xia

o L

i

Gon

g X

iaod

ong

Sun

Don

g

2009

The

Lit

tle

Soci

ety

Gra

ss S

tage

Zha

o C

huan

, Fen

g Z

i, H

ou Q

ingh

ui, Y

u K

ai, W

u M

eng

and

othe

rs

Zha

o C

huan

Zha

o C

huan

2009

The

Sto

ry o

f Gon

g an

d D

rum

Lan

e Pe

ngha

o T

heat

reW

ang

Xia

ng a

nd W

ang

Shao

jun

Wan

g Sh

aoju

n an

d M

u D

uL

iao

Shif

u

2010

The

Yel

low

Sto

rm

Nat

iona

l The

atre

of C

hina

Tia

n Q

inxi

n an

d A

n Y

ing

Tia

n Q

inxi

n X

ue D

ianj

ie a

nd

Wan

g H

anyi

20

11 Se

arch

ing

for

Li D

azha

o H

ebei

Pro

vinc

ial S

poke

n D

ram

a T

heat

reM

eng

Bin

gG

ong

Xia

odon

g/Ji

ang

Tao

Zha

ng W

u

A P P E N D I X 2

Glossary of Names, Titles, and Specif ic

Expressions in the Main Text

English/Romanization used in the text

pinyin a

Absolute Signal Juedui xinhaoAlley/ hutong hutong A Chinese Grammatical

Discussion of “The Other Shore”

Guanyu “Bi’an” de yihui Hanyu cixing taolun

a son paying back his father’s debt

fuzhai zihuan

amateur drama aimeiju Amber HupoAn Yingapproval system baopi zhi Archival Museum of the

PLAZhongguo Renmin

Jiefangjun Dang’an Guanarchive or personal record dang’an Archives of Life Shengming dang’an Army for Revolution GemingjunArts Ensemble of the Chinese

People’s Armed ForcesWujing Wengongtuan

Association of Dramatists, National/under the Beijing Federation of Literary and Art Circles

Zhongguo Xijujia Xiehui/ Beijing Wenlian Xijujia Xiehui

Aurora Borealis, The Beiji zhi guangavant-garde xianfeng avant-garde theatre xianfeng xiju Ballad of Yellow Earth, The Huangtu yaoBei DaoBeibingmasi HutongBeijing’s first popular,

not-for-profit little theatreBeijing diyi jia minjian

gongyi xiaojuchangBeijing International

One-man Play FestivalBeijing Guoji Dujiaoxi

XijujieBeijing Nanluoguxiang

Performing Arts FestivalBeijing Nanluoguxiang

Xijujie

246 APPENDIX 2

English/Romanization used in the text

pinyin a

Beijing People’s Art Theatre Beijing Renmin Yishu Juyuan

Beijing-Shanghai Dual City Theatre Exchange

Beijing-Shanghai shuangchengji xiju jiaoliu huodong

being between alike and unlike

si yu busi zhijian

being the character, and not being the character

ji shi renwu, you bushi renwu

Body Phase Studio Shenti Qixiang Guan Bootleg Faust Daoban FushideBus Stop Chezhanbutting oxen dingniu Can Three Make It? Part I Sanren xingbuxing I Can Three Make It?

Part II—City Panic Sanren xingbuxing II—

Chengshi zhi huang Can Three Make It?

Part III—Oh! Three Diverged Paths

Sanren xingbuxing III—O! sanchakou

Cao YuCapital Theatre Shoudu JuchangCentral Academy of Drama Zhongyang Xiju XueyuanCentral Experimental

TheatreZhongyang Shiyan

HuajuyuanChan, Peter Chen KexinChang, Eileen Zhang AilingChen DabeiChen TianhuaChen Xinyi Cherry Orchard Yingtao yuanChessman Qiren Chiefs of Anti-Corruption

Bureau Fantan juzhang

China Youth Art Theatre Zhongguo Qingnian Yishu Juyuan

City of Sadness Beiqing chengshi City Metamorphosis Chengshi bianxingjiClash Theatre Zhuang Jutuan Close and Distant Scenes Jinjing yuanjingclose-up jinjing cloud-hands yunshou Cloud Gate Dance Theatre Yunmen Wuji Clown Loves the Beauty Xiaochou ai meili Collapse of the Great Wall Banli changchengconception of theatre xijuguan conceptual theatre guannian xiju constructing the alternative goujian minjian

APPENDIX 2 247

English/Romanization used in the text

pinyin a

Contract Management Responsibility System

chengbao zhidu

corporatization of entities zhuanqi gaizhi Critical Point Theatre

PhenomenonLinjiedian Juxianglu

cruel poeticism canku de shiyi Dai Wangshu Death of the Poets Shiren si leDe Ling & Empress

Dowager Ci XiDeling yu Cixi

Deng Xiaopingdisregard the family in

the interests of great righteousness

dayi mieqin

Ding Naizhu Do not Touch My Woman Wode laopo ni biedongDo one thing, and one thing

well, your entire life, and your accomplishment will be complete.

Ren, yibeizi neng zuohao yijianshi, jiu gongde-yuanman le.

Dongcheng District DongchengquDongcheng District Cultural

CommitteeDongchengqu Wenhua

WeiyuanhuiDongcheng Drama Alliance Dongchengqu Xiju

LianmengDongmianhua Hutong Dongmianhua hutongdouble serves erwei Downstream Garage Xiahe MicangDragon Inn Xin Longmen kezhanDrama Troupe attached to

the Political Department of the PLA

Zhongguo Renmin Jiefangjun Zongzhengzhibu Huajutuan (Zongzheng Huajutuan)

dual structure acting/directing

Biaoyan/daoyan de shuangchong jiegou

Eighteen Springs Bansheng yuanencourage tichang Feng JiangzhouFengchao Theatre Fengchao JuchangFengzi Field of Life and Death Shengsichangfield maneuver lalian File Zero Ling dang’anfiling system beian zhi final assessment made after

the lid is placed on a person’s coffin

gai guan lun ding

248 APPENDIX 2

English/Romanization used in the text

pinyin a

Fisherman’s Revenge Dayu shajia Flowers in the Mirror , Moon

on the Water Jinghua shuiyue

Forum on the Development of Nongovernmental Theatres in Ten Cities, the

Zhongguo shichengshi duli juchang fazhan luntan

For the Sake of the Republic Zouxiang gonghe Founding of A Republic Jianguo daye Founding of the Party Jiandang dayefun haowanr Gao Xingjiangezixigive full scope to hongyang godmother ganma Gong Xiaodong Gongfu (Kungfu)good people and good deeds haoren haoshi government paying the bills zhengfu maidan Grass Stage Caotai BanGu ChengHaizi Hai Rui Dismissed from Office Hai Rui baguanHe JipingHe Nian Head without Tail Guanyu aiqing guisu de

zuixin guannianHebei Provincial Spoken

Drama TheatreHebeisheng Huajuyuan

Hezhu’s New Match Hezhu xin peihighlight tuchu Hiroshi OhashiHo Yingfung He Yingfenghoney of the box office piaofang mitang Hong Kong Repertory

TheatreXianggang Huajutuan

Hong ShenHou QinghuiHou XiaoxianHu ZongqihuaijuHuang HaiweiHuang LeiHuang QingzeHuang XingHuang YingHuang Zuolin I Love XXX Wo ai XXX

APPENDIX 2 249

English/Romanization used in the text

pinyin a

Ice Cream Mountain Moshanin the play, and not in the play ji zai xi zhong, you buzai

xi zhong independent duli independent theatre duli xiju/duli juchang inquisition biwen insist jianchi Ji WeiranJiang HuaxuanJiang JieJiang QingJiang TaoJiang ZeminJiang ZhiJiang ZhihuiJiangnan LiguoJiao JuyinJiaodaokou Street

Administrative OfficeJiaodaokou Jiedao

BanshichuJin ShijieJin Yong jingju knight-errant xia Koo, Joseph Gu JiahuiKong ShangrenLai, Stan Lai ShengchuanLan-ling Theatre Workshop Lanling JufangLao She Last Winter Qunian dongtianLei FengLi AngLi BaiLi DongLi GuoxiuLi LiuyiLi Tiesheng Liangxiang /poseLiao ShifuLiao YimeiLin BiaoLin Jia-fengLin JueminLiu YunshanLin ZhaohuaLin Zhaohua Theatre Studio Lin Zhaohua Xiju

GongzuoshiLingyunyan

250 APPENDIX 2

English/Romanization used in the text

pinyin a

Little Society, The Xiao shehuiLittle Theatre (Movement) Xiaojuchang (yundong) Liu Kedonglong shot yuanjing Love Is Colder than Death Ai bi si geng lengkuLu Xun Lu Xun 2008 Luo Yihemain melody zhuxuanl ü Mao AnyingMao, Fredric Mao JunhuiMao Zedong Master Builder, The Jianzhu dashiMeng BingMeng Bing Phenomenon Meng Bing xianxiang Meng JinghuiMeng Jinghui Studio Meng Jinghui Xiju

GongzuoshiMini blog weibo model theatre yangbanxi Madman’s Diary, A Kuangren rijiMay Fourth Movement Wusi yundongMei Lanfangmigrant/peasant worker nongmin gongMou SenMu DeNanluoguxiang Culture and

Leisure StreetNanluoguxiang wenhua

xiuxianjienarrative acting xushu de biaoyan National Academy of Chinese

Theatre ArtsZhongguo Xiqu Xueyuan

national drama movement g uoju yundong National Theatre of China Zhongguo Guojia

Huajuyuannew drama xinjuNew Youth Xin qingnianNie Guangyan Night Inn YedianNing Caishen No. 81 in the Chaonei: A

Supernatural Thriller Lingyi jingsong wutaiju:

Chaonei 81 haoold drama jiujuorthodox drama zhengju Our Songs, Our Nostalgia Wode xiangchou, wode geOuyang Yuqian Peking Opera: The Revelation Jingxi qishiluPeking University Drama

SocietyBeida jushe

APPENDIX 2 251

English/Romanization used in the text

pinyin a

Peng DehuaiPenghao Theatre Penghao juchangPerformance Workshop Biaoyan Gongzuofangpetit-white-collar xiao bailing Ping-Fong Acting Troupe Pingfeng Biaoyanban pingtan Poly Theatre Baoli Juyuanpopular minjian popularization dazhonghua positive energy zheng nengliang privately run minying Pu Cunxinpublic welfare gongyixing public institutions shiye danwei QinQin HailuQiu Jin Records of the Historian Shi jiregistration system huji zhidu Ren Mingrepertory theatre dingmuju revolutionary history relics geming lishi wenwu Rhinoceros in Love Lian’ai de xiniu Richard III Licha sanshiSang Qi Savage Land, The Yuanye Searching for Li Dazhao Xunzhao Li DazhaoSecret of Our Resurrection Lihua mengself-introduction technique zi bao jiamen Shamlet ShamuleiteShang YangShanghai Dramatic Arts

CentreShanghai Huaju Yishu

ZhongxinShanghai Municipal

Government “Minimum Livelihood Guarantee”

Shanghaishi chengxiang jumin zuidi shenghuo baozhang biaozhun

Shanghai Theatre Academy Shanghai Xiju XueyuanShao YanpengShao ZehuiShen ShaominShi Zhishock the heaven and the

earth jingtian dongdi

Sima Qiansimulated madness zhuangfeng Sinicizing huaju huaju minzuhua Soft Rouruan

252 APPENDIX 2

English/Romanization used in the text

pinyin a

song-dance theatre/traditional/indigenous Chinese theatre/traditional opera

xiqu

Soul of the Republic Xinhai hunSouth Gong and Drum Lane Nanluoguxiangspoken drama/modern theatre huaju Squat Dunstage play wutaiju Story of Gong and Drum

Lane, The Luoguxiang de gushi

Story of the Deer and the Cauldron, The

Lu ding ji

storytelling/balladry shuochang yishu/ quyi Sun DongSun Jiazheng Sun Yat-sen Sun—Regicide, The Taiyang — shi Sunrise Richu Sweet & Sour Hong Kong Suansuan tiantian

Xianggang di Taking Tiger Mountain by

Strategy Zhiqu Weihushan

Tea House ChaguanTheatre Reform xigai theatre without time-space wu shikong xiju Three Sisters & Waiting for

Godot San jiemei–Dengdai

Geduo Thunderstorm LeiyuTian HanTian QiyuanTian QinxinTianjin People’s Art Theatre Tianjin Renmin Yishu

JuyuanTong Sze Hong Tang ShikangTong XianglingTsui, Hark Xu Ketrunk closing performance fengxiang yanchu turtle’s egg wangbadan Uncle Doggie’s Nirvana Gouerye niepanWang Chong Wang Deming Wang HanyiWang HongWang JingguoWang MolinWang Shaojun

APPENDIX 2 253

English/Romanization used in the text

pinyin a

Wang XiangWang YansongWang YueWang’s Eight Items Wang batiaoWarlords Tou ming zhuangWater Bar Shuibian BaWater Margin Shuihu zhuan Watermelon Xigua We Are One Family Mingyue heceng shi

liangxiang Wedding Memories N ü ’er hongWeiWen YiduoWhite Deer Prairie Bai lu yuanWildman Yerenwithin the system tizhi nei Wong, James Huang ZhanWu HanWu JingjiWu MengWu SongXi ChuanXi JinpingXiao HongXiao LiXiong FoxiXu RongchangXue DianjieYan HuichangYang CunbinYang ZirongYen, James Y. C. Yan YangchuYao Yi-weiYao Yuan Yellow Storm, The SishitongtangYi LimingYin ZhushengYu DafuYu JianYu KaiYu RongjunYu ShangyuanZhan HuilingZhang WuZhang YichengZhao ChuanZhao Liang

254 APPENDIX 2

English/Romanization used in the text

pinyin a

Zhao MiaoZhou EnlaiZhu RongjiZou Rong

a All Chinese written characters are in simplified form except for the materials from Taiwan and Hong Kong.

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Contributors

Shelby Kar-yan C HAN is associate professor at School of Translation, Hang Seng Management College, Hong Kong. She is the author of Identity and Theatre Translation in Hong Kong (2015). Her research interests include interpreting, Chinese-language theatre, Gao Xingjian, cinematic adaptation, gastronomic translation, and post-colonial studies. She has also translated four plays from English to Cantonese for stage performances in Hong Kong.

Xiaomei C HEN is professor in the department of East Asian Languages and Cultures at University of California at Davis. She is the author of Occidentalism: A Theory of Counter-Discourse in Post-Mao China (1995; revised and expanded edition, 2002), and Acting the Right Part: Political Theater and Popular Drama in Contemporary China (2002). She is the coeditor, with Claire Sponsler, of East of West: Cross-Cultural Performances and the Staging of Difference (2000), and with Julia Andrew, of Visual Culture in Contemporary China (2001). She is the editor of Reading the Right Texts (2003) and Columbia Anthology of Modern Chinese Drama (2010; abridged edition, 2014). She has authored 50 journal articles and book chapters, and her new book, titled Staging Chinese Revolutions: Founding Fathers, National Stage, and Revisionist Histories in Twentieth-Century China , is forthcoming from Columbia University Press.

Katherine Hui-ling C HOU is professor of English at National Central University in Taiwan, project director of NCU’s Performance Center and ETI (a digital archive of Taiwan’s modern theatre). She is a play-wright/director and has published widely; her recent research focus is performing arts in creative industry and cultural economy. Her aca-demic publications include Performing China: Actresses, Visual Politics and Performance Culture, 1910s–1945 , and her plays and productions include He Is My Wife, He Is My Mother and eight other works. She is also the editor-in-chief of Performing Taiwan: Script, Design and Stagecraft, 1943– .

274 CONTRIBUTORS

Tarryn Li-Min C HUN is a PhD candidate in the Department of East Asian Languages and Civilizations at Harvard University. Her disser-tation project explores the interrelation of technology, theatricality, and modernity in twentieth- to twenty-first-century China by analyz-ing transformations in the material conditions of theatrical produc-tion, dramatic composition, and performance practice. Her work has been published in TDR , as well as in the Chinese-language journals Wenxue (Literature) and Xiju yishu (Theatre Arts).

Rossella F ERRARI is senior lecturer in Chinese and Theatre Studies at SOAS, University of London. Her research interests include Chinese-language theatres, inter-Asian theatre networks, and intercultural performance. Her research has appeared in TDR , Postcolonial Studies , positions : asia critique , New Theatre Quarterly , and elsewhere. She is the author of Pop Goes the Avant-Garde : Experimental Theatre in Contemporary China (2012).

Gilbert C. F. F ONG is an acclaimed translator, provost, professor, and dean of the School of Translation of Hang Seng Management College in Hong Kong. Fong translated into English many plays by Gao Xingjian (2000 Nobel Prize in Literature), including The Other Shore and Snow in August . He also translated into Chinese Beckett’s Waiting for Godot , Genet’s Haute Surveillance, and many other plays, all for stage performances in Hong Kong. His recent works include On Drama (with Gao Xingjian, 2010) and Dubbing and Subtitling in a World Context (2009). He was the editor of Hong Kong Drama Review and Journal of Translation .

L I Ruru is professor of Chinese Theatre Studies in the School of Languages, Cultures and Societies, University of Leeds, United Kingdom. She has written extensively on Shakespeare performance in China (including a monograph Shashibiya: Staging Shakespeare in China 2003) and on Chinese theatre (modern/traditional). Her recent works include The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World (2010), Translucent Jade: Li Yuru on Stage and in Life ([in Chinese] 2010), and a photographic exhibition Cao Yu (1910–1996): Pioneer of Modern Chinese Drama (2011– ). Li runs traditional song-dance theatre workshops for both students and theatre professionals because she regards regular contact with the theatre as essential to her academic work.

L IN Wei-yu is assistant professor in the Department of Drama Creation and Application at the National University of Tainan, Taiwan. After

CONTRIBUTORS 275

having received her PhD from the Theatre and Dance Department at the University of Hawai‘i, she taught at the Peking University Theatre Research Institute and the National Academy of Chinese Theatre Arts in Beijing. Her academic interests include Chinese modern theatre, modern application of traditional theatre elements in Asian modern theatre, and Cambodian classical dance-drama.

Siyuan L IU is assistant professor of Theatre at the University of British Columbia, Canada. He is the author of Performing Hybridity in Colonial-Modern China (2013), coauthor of Modern Asian Theatre and Performance 1900–2000 (2014), and coeditor of The Methuen Drama Anthology of Modern Asian Plays (2014). He has published over 20 articles on twentieth-century Chinese theatre and intercul-tural theatre in edited books and peer-reviewed journals. He coedited two “Founders of the Field” series for Asian Theatre Journal .

M A Haili is senior lecturer in Chinese Studies, director of the China Research Centre at the University of Chester, United Kingdom. She was trained to play xiaosheng (young male) roles at Shanghai Luwan District Yueju Company before embarking on an academic path. Her research examines the artistic evolution of traditional/indigenous Chinese song-dance theatre under the contemporary social, political, economic, and media conditions. She is the author of Urban Politics and Cultural Capital, the Case of Chinese Opera (2015).

P U Bo is assistant professor at the Zhejiang University of Media and Communications, China. He has a doctorate from East China Normal University. He is the author of Performance of Space in the Era of Globalization ([in Chinese] 2015). He is also a poet, a writer, and a member of Chinese Writers Association.

Rosemary R OBERTS is senior lecturer in Chinese Studies at the University of Queensland, Australia. She is the author of Maoist Model Theatre: The Semiotics of Gender and Sexuality in the Chinese Cultural Revolution ( 1966–1976 ) and has published widely in the areas of mod-ern Chinese literature, culture, and gender studies. She is also coedi-tor of four volumes of critical works on literary, cultural, and gender studies in China and East Asia. Her current research includes a major collaborative project Making and Remaking China’s Red Classics and a book project on the sociopolitical and aesthetic history of Chinese lianhuanhua (picture story books).

John B. W EINSTEIN is associate professor of Chinese and Asian Studies at Bard College at Simon’s Rock, and principal and dean

276 CONTRIBUTORS

of the Early College at Bard High School Early College—Newark, United States. A scholar who publishes on Republican period main-land theatre and contemporary Taiwan theatre, he served as president of the Association for Asian Performance from 2006 to 2011. He is the editor and cotranslator of Voices of Taiwanese Women: Three Contemporary Plays (2015).

Y ANG Zi is research fellow at Shanghai Art Research Institute, and visiting scholar at University of Chester, United Kingom. She has a PhD from East China Normal University, and her research inter-ests lie in urban studies, theatre, film and visual studies, and cul-tural industries. She has published a number of journal articles on film and theatre studies in China’s leading academic journals and is coauthor of Folklore in Jiangnan ([in Chinese] 2010). Her two new books, Performing Shanghai: Urban Imaginary in Theatrical Space and Differential Accent: Non-State-Run Huaiju Troupes in Shanghai since the 1980s , are forthcoming from Shanghai Renmin Chubanshe.

Absolute Signal, 42, 43, 46, 164, 242

acting, 11, 19, 34, 37–9, 42–9, 69–70, 84, 102, 124–5, 131, 141–4, 151, 169–70, 171, 189–90, 233. See also individual actors

amateur drama. See under huajuArchives of Life, 79–85, 88, 89,

242. See also Meng BingAssociation of Dramatists, National

and Beijing local, 58, 228audiences, 2, 3, 21, 37–9, 41, 43,

46–7, 48–9, 51, 90, 102, 105, 110, 118–19, 125, 141–2, 144, 150–1, 154–5, 157–8, 159–61, 171–2, 188–9, 193–4, 196, 203–4, 235. See also consumerism

avant-garde theatre. See under huaju

Bakhtin, Mikhail, 145, 147–8, 150, 155, 157

Ballad of Yellow Earth, The, 86–9, 242. See also Meng Bing

Beijing Nanluoguxiang Performing Arts Festival, 182, 219, 231. See also Wang Xiang

Beijing People’s Art Theatre, 42–3, 110, 164, 168, 172, 173, 242. See also Cao Yu, Jiao Juyin and Lin Zhaohua

Bourdieu, Pierre, 3, 5, 234Brecht, Bertolt, 13, 44, 79–80, 83,

90

Can Three Make It? Part III—Oh! Three Diverged Paths, 191, 242. See also Li Guoxiu

Cao Yu, 16–36, 80, 110, 198, 243. See also playwriting and Savage Land

Capital Theatre. See also Beijing People’s Art Theatre

Carlson, Marvin, 3Central Academy of Drama, 51,

110, 164, 218–19, 224, 230Central Experimental Theatre, 160,

167–8, 219, 242Chapple, Freda, 129Chekhov, Anton, 38, 47. See also

foreign theatrical influence under huaju

Chen Xinyi, 35–6, 55, 61–2, 65–6, 242. See also directing, Shang Yang

China Youth Art Theatre, 160, 168civilized drama. See under huajucloud-hands, 12. See also jingju and

song-dance theatreconception of theatre, the. See

under huajuconsumerism, 115–21, 134–6,

146–7, 153–5, 159–61, 168–9, 170–2, 179, 182, 205, 219–20, 237. See also commercial theatre under huaju

cultural industry, 138–9, 159–62, 165, 167–72

Cultural Revolution, 13–14, 42, 51, 62, 64, 65–6, 80–1, 88, 115, 186, 235

Index

278 INDEX

dance, 47, 50, 82, 97–9, 100–1, 106–9, 127, 131, 142, 209–10, 240

Deng Xiaoping, 50, 55, 57, 88, 153, 183

directing, 11, 15–16, 18–19, 22–3, 24–34, 43–4, 73–4, 79–80, 83–4, 92, 141–4, 165, 233. See also individual directors

Drama Troupe attached to the Political Department of the PLA, 55, 83, 85, 242, 243. See also Meng Bing

duli (independent). See independent theatre under huaju

economic reforms, 56, 57, 62–3, 65, 77, 78, 86, 116, 138–9, 153, 205, 213, 234, 240. See also Deng Xiaoping, Jiang Zemin and Zhu Rongji

nonprofit cultural institutions into for-profit enterprises, 117, 118–19, 160

Feuer, Jane, 106, 108, 110Field of Life and Death, 164–6,

242. See also Li Dong and Tian Qinxin

Flowers in the Mirror, Moon on the Water, 120, 123–40, 243. See also Meng Jinghui and Xi Chuan

cinematic space, 133–4poetry, 129–32

Gao Xingjian, 42, 164, 242. See also Absolute Signal, Lin Zhaohua and playwriting

gezixi, 195gongfu (Kungfu or martial arts),

120–1. See also Story of the Deer and the Cauldron

Grass Stage, 116, 179–80, 181, 243. See also Zhao Chuan

Grotowski, Jerzy, 13, 38, 44. See also foreign theatrical influence under huaju

Habermas, Jürgen, 227–8He Jiping, 98, 101–6, 110–11, 242.

See also playwriting and Sweet & Sour Hong Kong

He Nian, 141–4, 147–8, 158, 243. See also directing, Shanghai Dramatic Arts Centre, Shanghai Theatre Academy, and Story of the Deer and the Cauldron

Hebei Provincial Spoken Drama Theatre, 243

Hezhu’s New Match, 178–9, 189–90, 195, 201, 242. See also Little Theatre Movement under huaju

Hong Kong, 1–2, 97–100, 101–5, 110Hong Kong Repertory Theatre,

98–9, 111, 242. See also Fredric Mao

Hong Shen, 80, 85. See also directing, origins under huaju and playwriting

huaju (spoken drama/modern Chinese theatre) and its significant topics

amateur drama (aimeiju), 180–1, 183

avant-garde theatre (xianfeng xiju), 42–3, 125–7, 134–9, 161–2, 195 (see also experimental theatre)

civilized drama (wenmingxi), 8classical plays (jingdian jumu),

11–14 (see also Master Builder and Savage Land)

commercial theatre (shangye xiju), 43, 83–4, 116, 180, 182–3, 205, 207

conception of theatre, the (xijuguan), 13–14, 115

INDEX 279

huaju—Continuedexperimental theatre, 42, 120,

125, 135, 178, 189–90, 195, 209, 226, 231, 238 (see also avant-garde theatre)

foreign plays, Chinese performance, 13, 46, 47, 164–5, 198 (see also Master Builder)

foreign theatrical influences, 13, 17, 44, 79–80, 160, 189–91, 200–1, 234 (see also Brecht, Chekhov, Grotowski, Ibsen, Meyerhold, O’Neill, origins under huaju, Schechner, Stanislavski)

historical drama (lishiju), 62, 65–6

independent theatre (duli xiju/duli juchang), 116, 177–83, 185, 189, 198, 213, 239

intermedial stage (duomeiti wutai), 123–40, 207, 234

Little Theatre Movement (xiaojuchang yundong), 2, 178–9, 188–9, 191, 198–200

main melody (zhuxuanlü) theatre, 3–4, 55–9, 61–78, 79–96, 97–111, 115, 118, 183, 236–7, 238 (see also ideology)

mainstream theatre (zhuliu xiju)/state-sponsored theatre (tizhinei juyuantuan), 115, 207, 213, 219, 226, 230 (compare independent theatre and minjian)

minjian (popular), 179, 181, 183, 222, 231

national drama movement (guoju yundong), 11–13, 50–1

origins, 1–2, 4, 5, 12, 38–9, 116, 160, 180, 181, 233, 234–5, 239

peasant drama (nongmin xiju), 180–1

positive and negative characters, 65, 68, 76–7, 78

Sinicizing huaju (huaju minzuhua), 11–14, 39, 45–6, 50–2

socialist realist theatre, 55, 70, 83, 87, 235

Soviet theatre experts in China, 50, 52

symbolic and expressionist techniques, 17–18, 19, 24–34

white-collar theatre (bailing xiju), 119, 141–58

Huang Zuolin, 13. See also conception of theatre under huaju and directing

Ibsen, Henrik, 38, 40, 41, 49, 52, 80. See also foreign theatrical influence under huaju

ideology, 1–2, 3–4, 55–9, 75, 77, 85, 95, 98, 103–6, 108, 109–10, 115–16, 118, 149–50, 153–4, 155–7, 166, 177–8, 204–5, 210–14, 226–8, 232, 235, 236–8. See also Deng Xiaoping, Jiang Zemin, Mao Zedong, Marx, Xi Jinping

Lei Feng, 87–8, 95–6 (see also Meng Bing)

Jiang Zemin, 57–8Jiao Juyin, 13, 14, 51–2. See also

directing and Sinicizing huaju

Jin Shijie, 189–90, 242. See also acting and Hezhu’s New Match

jingju, 13, 51, 115–16, 164, 178–9, 186–7, 189–90, 201. See also song-dance theatre and traditional performance arts

Lan-ling Theatre Workshop, 189–90, 242. See also Jin Shijie, Li Guoxiu and Wu Jingji

280 INDEX

Lao She, 121, 159. See also Yellow Storm

Lehmann, Hans-Thies, 209–10Li Dong, 121, 160, 163–8, 171–3.

See also National Theatre of China, Tian Qinxin

Li Guoxiu, 185–201, 242. See also acting, directing, Ping-Fong Acting Troupe and playwriting

Lin Zhaohua, 37–52, 164, 226, 242. See also directing, experimental theatre under huaju and Master Builder

Lin Zhaohua Theatre Studio, 38, 42, 52, 242

Little Society, The, 177, 203–14, 243. See also Grass Stage and Zhao Chuan

field maneuver (lalian), 210–12theatre of inquisition, 206–12

Little Theatre Movement. See under huaju

Lü Liang, 120. See also Shanghai Dramatic Arts Centre

main melody theatre. See under huaju

Mao, Fredric, 55, 98–103, 242. See also directing and Sweet & Sour Hong Kong

Mao Zedong, 57, 62, 64, 73, 77–8, 88–9, 91, 94–5, 153–4, 237, 239. See also ideology

Marx, Karl, 13, 56, 153, 158, 204, 212. See also ideology

Master Builder, The, 37–52, 242. See also Lin Zhaohua and Yi Liming

Meng Bing, 55, 58, 79–96, 242, 243. See also main melody under huaju and playwriting

Meng Bing Phenomenon, 85–6Meng Jinghui, 120, 123–40, 164,

171, 172, 173, 243. See also directing and Flowers in the Mirror, Moon on the Water

Meng Jinghui Studio, 124, 222, 243

Meyerhold, Vsevolod, 14, 38, 44, 132–3. See also foreign theatrical influence under huaju

minjian (popular). See under huajumultimedia. See intermedial stage

under huajumusic, 15, 18, 61–2, 73–4, 79,

97–9, 100–1, 208, 215musical or musical theatre

(yinyueju), 2–3, 55, 97–111

National Academy of Chinese Theatre Arts, 216

national drama movement. See under huaju

National Theatre of China, 118, 159–61, 168, 170–2, 219, 243. See also Li Dong, Meng Jinghui and Tian Qinxin

Ning Caishen, 141, 149, 151, 154, 156, 157, 243. See also He Nian, playwriting and Story of the Deer and the Cauldron

O’Neill, Eugene, 17. See also foreign theatrical influence under huaju

Ouyang Yuqian, 1, 95. See also acting and civilized drama under huaju

peasant drama. See under huajuPeking Opera: The Revelation,

178–9, 185–201. See also Li Guoxiu and Taiwan

memory, 196–8multi-role acting technique,

191–5Penghao Theatre, 116, 179,

181–2, 215, 217–18, 221–3, 225–6, 228–30, 243. See also independent theatre under huaju and Wang Xiang

INDEX 281

Ping-Fong Acting Troupe, 185, 188–201, 242. See also Li Guoxiu and Taiwan

pingtan, 45, 46. See also storytelling/balladry and traditional performance arts

playwriting, 16–19, 32–4, 35, 37–9, 40, 41, 61–2, 73–4, 82–3, 87–8, 90–2, 97, 149, 151, 154, 200–1, 233, 236. See also individual playwrights

Poly Theatre, 163, 173popularization (dazhonghua), 180.

See also minjian and peasant drama under huaju

Pu Cunxin, 37, 41–2, 47. See also acting and Lin Zhaohua

puppetry, 44–5, 141–2, 144–5. See also He Nian, Lin Zhaohua, and traditional performance arts

Savage Land, The, 5, 11, 15–36, 243. See also Cao Yu and Wang Yansong

directed by Cao Yu, 18directed by Chen Xinyi, 35directed by Li Liuyi, 35–6

Schechner, Richard, 34. See also foreign theatrical influence under huaju

Searching for Li Dazhao, 89–92, 243. See also Meng Bing

self-introduction technique. See also jingju and song-dance theatre

Shamlet, 192, 195. See also Li Guoxiu

Shang Yang, 6, 58, 61–78, 242. See also Chen Xinyi and Yao Yuan

Confucianism, 64, 71–2, 77, 78historical interpretation of Shang

Yang, 62, 63–4, 66–7, 71Shanghai Dramatic Arts Centre,

117–21, 141, 143–4, 146–7, 154–5, 158, 242, 243. See

also Chen Xinyi, He Nian, Lü Liang and Yu, Nick Rongjun

Shanghai Theatre Academy, 121, 235

Sinicizing huaju. See under huajusong-dance theatre/traditional/

indigenous Chinese theatre/traditional opera. See xiqu

Soul of the Republic, 92–5. See also Meng Bing

sound, 21–2, 41, 62, 66–7, 68, 79, 94, 123, 128, 129, 133, 148, 236

stage design, 18, 22–3, 24–5, 35, 37, 41, 47, 61–2, 66–9, 73–4, 79, 89, 97, 106, 123–5, 127–8, 133, 148, 163–4, 187, 190, 203–4, 215, 233, 236. See also individual designers

Stanislavski, Constantin, 11, 14, 38, 39–40, 41, 43–4, 50–2, 83–4, 144. See also foreign theatrical influence, Soviet theatre experts under huaju

Story of Gong and Drum Lane, The, 177, 182, 215–32, 243. See also Wang Shaojun and Wang Xiang

Story of the Deer and the Cauldron, The, 117–18, 120–1, 141–58, 243. See also He Nian and Ning Caishen

knight-errant (wuxia), 155–6storytelling/balladry (quyi), 11,

43, 45. See also pingtan and traditional performance arts

Sweet & Sour Hong Kong, 58, 97–111, 242. See also Fredric Mao and He Jiping

lyrics, 102, 104Szondi, Peter, 49

Taiwan, 1, 2, 159, 177–8, 185–201Teahouse, 163–4, 173. See also

Beijing People’s Art Theatre, Jiao Juyin and Lin Zhaohua

282 INDEX

theatre management, 115–16, 146–7, 165–6, 168–9, 171–2, 177–8, 182, 205, 218–19, 233. See also individual producers

Theatre Reform (xigai), 115, 117Thunderstorm, 16, 35, 198. See also

Cao Yu, classical plays under huaju and Wang Yansong

Tian Qinxin, 115, 121, 137, 159–60, 163–73, 242, 243. See also directing, Li Dong, playwriting and Yellow Storm

Tianjin People’s Art Theatre, 16, 243. See also Wang Yansong

traditional performance arts, 44, 164, 195. See also jingju, pingtan, song-dance theatre (xiqu), storytelling/balladry (quyi)

Wagner, Rudolf G., 74Wang Shaojun, 215, 216, 243. See

also directing, playwriting and Story of Gong and Drum Lane

Wang Xiang, 179, 181–2, 216–32, 243. See also Penghao Theatre and Story of Gong and Drum Lane

Wang Yansong, 5, 11, 14, 16–35, 243. See also directing and Savage Land

We Are One Family, 98, 103, 108, 242. See also Sweet & Sour Hong Kong

white-collar theatre. See under huaju

Wu Jingji, 189. See also Hezhu’s New Match

wutaiju (stage play), 2–3, 178–9, 186, 195, 201. See also huaju and Taiwan

Xi Chuan, 123, 128–9, 130, 132, 139, 243. See also Flowers in the Mirror, Moon on the Water

Xi Jinping, 58–9, 236–7Xiong Foxi, 180–1. See also origins,

peasant drama under huajuxiqu (traditional song-dance

theatre/traditional Chinese theatre/traditional opera), 1, 7, 11–12, 13–14, 77, 116–17, 181, 43–4, 45–7, 49–50, 67–8, 79–80, 189–90. See also jingju

yangbanxi (model theatre), 69, 186, 195. See also Cultural Revolution and jingju

Yao Yuan, 61–2, 64, 242. See also playwriting and Shang Yang

Yellow Storm, The, 121, 159–73, 243. See also Li Dong and Tian Qinxin

original novel, 163–4Yi Liming, 37–8, 40, 242. See

also Master Builder and stage design

Yin Zhusheng, 69. See also actingYu, Nick Rongjun, 8, 146–7, 158.

See also Shanghai Dramatic Arts Centre

Yu Shangyuan, 13. See also national drama movement under huaju

Zhao Chuan, 179–80, 205–14, 243. See also Grass Stage

Zhou Enlai, 64, 237Zhu Rongji, 62, 65, 71. See also

Shang Yang