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Through a metaphorical journey of Shakespeare in traditional Chinese theatre, using three Chinese opera productions of Hamlet as signposts, the book discusses the relationship between Shakespeare and Chinese theatrical traditions.
A brief discussion of the Yue-opera Hamlet looks back at the role of Shakespeare in the Chinese discourse of renaissance and re-evaluation of traditions since the early twentieth century. A detailed analysis of the Peking-opera Hamlet shows what is lost and what is gained in the negotiation between Shakespeare and Chinese theatrical traditions, and why. The third Hamlet is an experimental Kun-opera production, leading to a discussion of the potential for Shakespeare and Chinese theatrical traditions to join hands and reach new depths of artistic expression.
The book will attract researchers, students, and enthusiasts of Shakespeare, cross-cultural Shakespearean recreation, Chinese theatrical traditions, and comparative literature.
A brief discussion of the Yue-opera Hamlet looks back at the role of Shakespeare in the Chinese discourse of renaissance and re-evaluation of traditions since the early twentieth century. A detailed analysis of the Peking-opera Hamlet shows what is lost and what is gained in the negotiation between Shakespeare and Chinese theatrical traditions, and why. The third Hamlet is an experimental Kun-opera production, leading to a discussion of the potential for Shakespeare and Chinese theatrical traditions to join hands and reach new depths of artistic expression.
The book will attract researchers, students, and enthusiasts of Shakespeare, cross-cultural Shakespearean recreation, Chinese theatrical traditions, and comparative literature.
"Hamlet transformed into Chinese opera is an adaptation that leaves most Western Shakespeare scholars and Shakespeare lovers more than a little mystified. Hao Liu's study opens our eyes and ears to the nature of the genre. She is an assured, thoughtful and unfailingly helpful guide to the range of responses to Hamlet that the form has generated in three strikingly different Chinese versions, making us able to understand them and enjoy them."
Peter Holland, University of Notre Dame, U.S.A.
"With meticulous clarity, Hao Liu traces the layers of cultural reference, consonant and dissonant, that constitute three recent adaptations of Hamlet in three different traditions of Chinese opera. She reflects intelligently on this exemplary process of cultural exchange. I learned a lot."
Lars Engle, The University of Tulsa, U.S.A.
Peter Holland, University of Notre Dame, U.S.A.
"With meticulous clarity, Hao Liu traces the layers of cultural reference, consonant and dissonant, that constitute three recent adaptations of Hamlet in three different traditions of Chinese opera. She reflects intelligently on this exemplary process of cultural exchange. I learned a lot."
Lars Engle, The University of Tulsa, U.S.A.
"Hamlet transformed into Chinese opera is an adaptation that leaves most Western Shakespeare scholars and Shakespeare lovers more than a little mystified. Hao Liu's study opens our eyes and ears to the nature of the genre. She is an assured, thoughtful and unfailingly helpful guide to the range of responses to Hamlet that the form has generated in three strikingly different Chinese versions, making us able to understand them and enjoy them."
Peter Holland, University of Notre Dame, U.S.A.
"With meticulous clarity, Hao Liu traces the layers of cultural reference, consonant and dissonant, that constitute three recent adaptations of Hamlet in three different traditions of Chinese opera. She reflects intelligently on this exemplary process of cultural exchange. I learned a lot."
Lars Engle, The University of Tulsa, U.S.A.
Peter Holland, University of Notre Dame, U.S.A.
"With meticulous clarity, Hao Liu traces the layers of cultural reference, consonant and dissonant, that constitute three recent adaptations of Hamlet in three different traditions of Chinese opera. She reflects intelligently on this exemplary process of cultural exchange. I learned a lot."
Lars Engle, The University of Tulsa, U.S.A.