Chinese Theatre

Contemporary China is increasingly open in its interaction with the global cultural community, generating one of the most prestigious projects-the Royal Shakespeare Company's "Chinese Classics Translation Projects" (2015-2023). This article examines this project's first production Snow in Midsummer, a performance based on a new translation of the Chinese classic Dou E Yuan (窦娥冤, The Injustice to Dou E That Moved Heaven and Earth). Through exploring the multiple agents involved in the RSC's re-staging of the play, this article traces the processes of translation and performance characterised by an oft-hidden collaborative agency. It uncovers the collaborative agency at work and argues that the agency in this theatre production aims to set the conditions to make the original Chinese classic new, so as to enable its rejuvenation and transformation. Key finding of this article is that the collaborative agency of the translator, playwright, director, stage designer, and actors/actresses in re-staging has enlivened the 13th-century Chinese classic with enriched narratives and produced a performance that is nuanced and relevant to the contemporary world. This article makes a case for the paradigmatic shift from a product-based approach to theatre translation to a process-based one. It opens new avenues to future research into the question of complexity of collaborative agency in restaging the foreign classic to the contemporary English-speaking audiences for both areas of theatre translation for performance and transnational theatre production.

The third section of Rhapsody of the Ming Tombs Reservoir (Shisanling shuiku changxiangqu 十三陵水库畅想曲, 1958), the first film in Mao-era China to include elements of science fiction, envisions a technologically advanced future in the year 1978. While seemingly aligned with the rapid industrialization goal of the Great Leap Forward, the film's techno-fantasy attracted blistering criticism. Focusing on the overlooked historical debate that followed the release of the film, this article argues that criticism regarding the visualization of a technological future reveals how seemingly legitimate imaginations of a communist future reflect internal contradictions within the socialist present. Reading the film and the debate it sparked within the context of technological development in the late 1950s, this article identifies one locus of criticism: the human-object relationship. During the construction of the reservoir, the film shows a harmonious human-object relationship, but the futuristic part of the film depicts that relationship as profoundly alienated. I argue that this discontinuity does not betray ignorance of or an intentional departure from socialist ideology; rather, it reflects ideological contradictions between intellectual and manual labor, egalitarianism and class difference, industrialization processes and revolutionary agendas. In its rhapsodic depiction of advanced devices that consolidate the division of knowledge, the film unintentionally lays bare a fundamental conflict that was undermining the socialist system in the real world.

There Is Not One China: Chinese Theaters in East Asia This article discusses Rossella Ferrari's book Transnational Chinese Theatres: Intercultural Performance Networks in East Asia. This research monograph by a scholar of Chinese theaters focuses on characterizing transnational artist networks in East Asia. Investigating theater collaborations of artists from China, Taiwan, and Hong Kong, Ferrari proposes a transnational and rhizomatic model for analyzing Sinophone culture. The book makes use of multiple sources not referenced in previous research, unpublished materials, and interviews. Ferrari explicitly dissociates herself from the orientalization of Eastern theaters; as her main method in researching them, she chooses Asia itself, following the Taiwanese cultural sociologist Chen Kuan-hsing (Asia as method) and listening carefully to the voice of Chinese theaters.

内容摘要:从1958 年到1960 年短短两年间，来自不同戏曲剧种的三部鬼戏被成功搬上银幕, 分别为越剧电影《情探》、蒲剧电影《窦娥冤》、弋阳腔电影《还魂记》。越剧《情探》而非川 剧《情探》被选中搬上银屏，这与编剧田汉夫妇的文化政治影响力、傅全香的明星效应，以及 1957 年越剧《情探》舞台版的大获成功密切相关。越剧电影《情探》提供了一套将戏曲与电影两种媒介进行成功融合的方案:谨慎控制电影特效，以保留传统戏曲中的创造性场景过渡;利用黑白色调，以凸显中国及世界电影中黑白片的情感表达与灵异题材之间的密切关系;巧妙切换布景和不同表演风格，以彰显阴界之“虚”与阳界之“实”的对比。

羅仕龍，〈從《青銅馬》的文本、演出與導演談十九世紀法國戲劇舞台上的中國形象〉，福建師範大學文學院《海峽人文學刊》第3卷第4期（2023年12月），頁110-119。【中國人民大學書報資料中心《舞台藝術（戲曲、戲劇）》轉載，2024年第4期，第89-98頁。】

司克里布的喜剧《青铜马》首演于1835 年，并于1857 年重演于巴黎歌剧院。该剧的制作结合同时期重要艺术家，共同发展出极富中国情调又具有奇幻色彩的浪漫爱情故事。此出改写自《一千零一夜》故事的《青铜马》，寄寓着时人对于远东中国的想象。根据其故事来源、剧本情节，以及同时代报刊剧评、剧院档案等史料，可检视十九世纪法国戏剧舞台上的中国形象演变及传播。同时，通过关注戏剧制作的外在条件和导演工作，说明他们参与建构十九世纪法国戏剧舞台上的中国想象的方式。

Chinese, English and Thai based on horizontal spatial concepts to describe time. Specifically, all three
use the temporal metaphor of the directional terms, ‘front’ and ‘back’. Previous studies found that Chinese
leans towards a past-oriented "moving time" metaphor, while English tends to adopt a future-oriented
"moving ego" metaphor. In comparison, Thai time expressions are more complicated, involving various
linguistic forms, however studies of Thai temporal metaphors remain limited.
This study utilized authentic corpus data to investigate the spatial metaphor of temporal expressions in
Thai, analyzing and comparing the temporal metaphorical patterns in Chinese, English, and Thai, taking into
account temporal cognition, metaphorical usage, and sentence structures. The findings reveal that Thai only
employs horizontal spatial metaphors for time, lacking vertical concepts. The usage of หน้า /nâː/ (front) and
หลัง /lǎŋ/ (back) in Thai leans towards "moving time" metaphor, with the observer positioned outside the
timeline.
In terms of teaching Chinese temporal metaphors, English speakers, accustomed to the "moving ego"
metaphor, may perceive the Chinese metaphor as cognitively conflicting. In the case of Thai speakers, the
absence of vertical spatial metaphors for time in Thai, a feature present in Chinese, combined with the
divergence in language branches between Chinese and Thai, may pose challenges for learners. To assist
English and Thai native speakers in gaining a better understanding of metaphorical use of spatial concepts
in Chinese temporal expressions and to alleviate the negative transfer of the learners’ native languages, this
study concludes by offering teaching suggestions for Chinese temporal metaphors.

1948年中共东北局相关职能部门对萧军及所属《文化报》展开的批判，是现代文学史上一场重要的文化事件。回到原始报刊，重新梳理现象的前因后果，有助于我们对战时中国左翼文学形态、“当代文学”确立及其挑战等相关话题形成更为立体的认识。对于萧军《文化报》的批判並不能仅在萧军个人命运的意义上予以定位，这一事件还呈现了战时左翼文学多条路径与延安文艺道路之间的张力，预示了“当代文学”在城市中文化领导权的确立，共和国文艺体制的雏形正诞生于这一交互过程中。作为当时全中国城市化率最高的地区与冷战前沿，东北在事实上成为这一过程的“起点”。《文化报》批判也从反面呈现这一文化体制“遭遇”城市后面临的挑战。小资产阶级问题在社会主义文艺论争中反复出现，始终保留在当代文学建构自身的进程内部。

As the fin-de-siècle New Leftist champions of revolution, Zhang Guangtian, Huang Jisu and Shen Lin struck a melancholic note with their collaborative play Che Guevara (Qie Gewala) (2000-1) on the postrevolutionary, depoliticized Chinese stage. Why do these Chinese theatre-makers still carry on ‘left melancholy' amid the worldwide postrevolutionary arena that has bid ‘farewell to revolution'? Whose memories and histories do these artists attempt to reclaim and retrieve through this melancholy? How do affective and Marxist theories of ‘left melancholy' expand the perceptions of recurrent revolutionary pathos in post-revolutionary Chinese leftist theatre? How does the play's radical recuperation of leftist theatrical techniques, in turn, reinterpret ‘left melancholy' and resist the marketized, depoliticized trends? This article attempts to depart from and expand the current academic focus on ‘left melancholy', which has been largely confined to Western leftist theorists such as Walter Benjamin, Wendy Brown and Enzo Traverso, to the postrevolutionary Chinese context. Integrating Western theories with Chinese interpretations of the concept by New Left scholars such as Wang Hui, along with Judith Butler's theory of subjection (1997), I argue that Che Guevara extends the connotation of left melancholy as a ‘performative paradox’ between an existential, passive despair and a radical, active aesthetic agency of hope to counteract the depoliticized trend of commercial theatre, through an exploration of its affective, theatrical and ideological significance.

The present paper aims to explore the translator's (in)visibility in literary translations through the lens of Chesterman's (1997) binary points on translation ethics pertaining to both macro-ethical and micro-ethical matters. The most widely accepted conception of translation ethics is that a translator should be loyal to the original source text and eliminate otherness in the translation. If the role of the translator is to remain invisible, the translator seemingly tends to be loyal to the original text. Pym (1995) proposes that translators who are "blendlinge"-inhabiting in the intercultural space-should be loyal to others inhabiting in the space, i.e. to other intercultural mediators or to the translating profession as a whole. However, the choice of whether to be acculturated or not should depend largely on the translator's own ideological views as well as the institutional mediation. The issue of translation ethics therefore concerns, as Chesterman (1997) argues, the translator's role in society, the translator's status and power, and the translator's rights. This study adopts Chesterman's framework of translation ethics, with special reference to Patrick Hanan's translation of Li Yu's The Carnal Prayer Mat, to investigate the translator's role in the production process for both macro-and micro-ethical matters.

We have constructed the first all-sky map of the thermal Sunyaev-Zeldovich (tSZ) effect by applying specifically tailored component separation algorithms to the 100 to 857 GHz frequency channel maps from the Planck survey. This map shows an obvious galaxy cluster tSZ signal that is well matched with blindly detected clusters in the Planck SZ catalogue. To characterize the signal in the tSZ map we have computed its angular power spectrum. At large angular scales (< 60), the major foreground contaminant is the diffuse thermal dust emission. At small angular scales (> 500) the clustered cosmic infrared background and residual point sources are the major contaminants. These foregrounds are carefully modelled and subtracted. We thus measure the tSZ power spectrum over angular scales 0.17 • < ∼ θ < ∼ 3.0 • that were previously unexplored. The measured tSZ power spectrum is consistent with that expected from the Planck catalogue of SZ sources, with clear evidence of additional signal from unresolved clusters and, potentially, diffuse warm baryons. Marginalized band-powers of the Planck tSZ power spectrum and the best-fit model are given. The non-Gaussianity of the Compton parameter map is further characterized by computing its 1D probability distribution function and its bispectrum. The measured tSZ power spectrum and high order statistics are used to place constraints on σ 8 .

Through the lenses of “global theatre history,” this article examines how the western magicians or, the amusing physicists, of the 1870s and 1880s influenced Shanghai theatre in its collective pursuing of visual effects.
        Nineteenth-century magicians who toured around the globe commonly adopted optic and electric apparatuses. These included magic lanterns, induction coils, which automatically generate electric sparks, colorful neon-like lights in combination with Gessler’s tubes and arc lamps, the light of which was far brighter than gas lights. After performing in the local Victorian Lyceum Theatre, the touring magicians were
often invited to carry on with their illusion shows in the Chinese public theatres. As their scientific apparatuses frequented Shanghai theatres, Chinese audiences, actors and managers became experienced with the blackouts, which were seldom required in the traditional practices, as well as the coordination of different lighting sources. As a result, a surge of newly invented lantern plays emerged in Shanghai. Along with the surge in the 1880s, there was also an apparent need for brand new costumes and reallife objects on the stage instead of conventional wardrobe and props. This paper argues that this visual turn can be connected to the sensation caused by the touring magic lanterns and electric lights.

There Is Not One China: Chinese Theaters in East Asia This article discusses Rossella Ferrari's book Transnational Chinese Theatres: Intercultural Performance Networks in East Asia. This research monograph by a scholar of Chinese theaters focuses on characterizing transnational artist networks in East Asia. Investigating theater collaborations of artists from China, Taiwan, and Hong Kong, Ferrari proposes a transnational and rhizomatic model for analyzing Sinophone culture. The book makes use of multiple sources not referenced in previous research, unpublished materials, and interviews. Ferrari explicitly dissociates herself from the orientalization of Eastern theaters; as her main method in researching them, she chooses Asia itself, following the Taiwanese cultural sociologist Chen Kuan-hsing (Asia as method) and listening carefully to the voice of Chinese theaters.

This article presents the profile of the East Asian theatre artist Danny Yung, director of the acclaimed Zuni Icosachedron theatre in Hong Kong. In the first part, Maciej Szatkowski offers a synthesis of his artistic biography, from his early years as a theatre maker in Hong Kong in the 1980s to the creation of a transnational Chinese theatre, which provides a space for artistic encounters of established and emerging artists

Tematem artykułu są losy dramatu urodzonego w Krakowie Leopolda Kampfa Yeweiyang (W przededniu). Nieznany w Polsce dramat, napisany w języku niemieckim, a przetłumaczony na język chiński z języka francuskiego do dziś jest przedmiotem analiz chińskich teatrologów i jest znany jako pierwszy zachodni tekst dramatyczny przełożony na współczesny język chiński. Popularność tego tekstu jest zasługą tłumaczy dramatu, tj. aktywisty chińskich ruchów modernistycznych Li Shizenga oraz uznanego chińskiego pisarza Ba Jina. Twórczość Leopolda Kampfa, socjalisty i młodopolskiego dramatopisarza, nie została do tej pory zbadana, a niezwykłe losy jego dramatu w Chinach pozostawały nieznane. Artykuł porusza kwestię znaczenia Yeweiyang dla rozwoju chińskiej dramaturgii współczesnej oraz podejmuje próbę zbadania jego żywotności w chińskich badaniach literackich.

Variations in the Construction of Theoretical Discourse in Promotional Materials for Mei Lanfang’s American and Soviet Visits
三十年代梅兰芳为其美国和苏联公演准备了大量介绍性的外文材料。材料多由团队写作与翻译，系在世界戏剧的潮流和出访国政治、文化等语境的他者视阈下，对何为戏曲、戏曲特质等问题的理论话语建构。通过细读和话语分析，并聚焦几个关键词的翻译，可以发现，梅兰芳团队的言说内容与策略因目标受众而发生了变异，且有别于国内原有的话语。然而，观念的变异不代表内在的分裂，而意味着共时层面戏曲现代性追求面貌的多元和历时层面对戏曲认知的不断完善。材料虽然针对的是外国读者，但也潜藏了与国内批评者的隔空对话，其最终目的是巩固戏曲在国内的地位，争取更多的话语空间。

This study aimed to determine the degree of the use of information and communication technology by kindergarten teachers in Amman and the obstacles to that use. To answer the study, the researchers developed a questionnaire to explore these questions. The researchers verified both reliability and validity of the instrument. A random sample of this study included (43(kindergartens in Amman city, with (172(kindergarten teachers, during the second semester of the academic year (2007/2008(. The study tool was distributed to all the teachers in those kindergartens and (157(completed questionnaires were returned to the researchers. The study findings indicated that there was a shortage in the availability of the hardware and the software in Amman kindergartens. Kindergarten teachers, in Amman, use of information and communication technology was weak. Results showed that there were physical, technical and educationally obstacles. Therefore, the researchers recommended that there was a necessity to provide the kindergartens with more hardware and software, in addition to a continuous training on new software and hardware.

本译文系梅兰芳1930年访美之前和在美期间，燕京大学成员与梅剧团、美国诸多文化机构和文化界人士联络的信件。这些信件的内容涵盖剧院选择、宣传、联络以及其他相关琐事。从信件中可以看出燕京大学帮助梅兰芳的动机，了解梅兰芳赴美演出的难处，亦能推断后来燕京大学撤离梅兰芳团队的原因。


Title: Correspondence of Members of Yenching University on Mei Lanfang’s American Tour


Abstract: What follows is a collection of letters between members of Yenching University and the Mei party, individuals from some American cultural institutions prior to and during Mei Lanfang’s visit to the United States in 1930. These letters cover issues of choosing theatre, publicity, liaison, and trivialities. They also reveal the motives of Yenching University in helping Mei Lanfang, the difficulties of Mei Lanfang’s American tour, and possible reasons for Yenching’s withdrawal from Mei Lanfang’s team.
Keywords: Mei Lanfang; Yenching University; John Leighton Stuart; Philip Fugh

Much has been written about the prominent British sinologists in the history of English translations of Chinese literature in the nineteenth century. It should be noted that the development of British sinology, including literary translation, in the nineteenth century was also marked by the active participation of a large number of foreign residents in China. Their contributions have not yet received sufficient attention. This paper examines the life and work of Alfred Lister (1842-1890) as a translator of Chinese literature who is still largely unnoticed. Since his arrival in Hong Kong in 1865, Lister had served in several offices in the colonial government, including Postmaster General and Treasurer. He had published actively in contemporary sinological journals, with a particular interest in translating Chinese literary works into English. With archival research and textual analysis, this paper examines his selection of source texts and his concepts and translation methods. It explores how the practice of literary translation had developed in the context of his colonial experience and the Chinese research environment in Hong Kong at the time. This paper brings new perspectives to our understanding of the history of English translations of Chinese literature in the nineteenth century.

R. Bartra afirma dos cosas que, tal como se presentan, son contradictorias: por un lado afirma que “el salvaje” es una invención europea del siglo XII, pero también afirma que es una invención que se da en toda época. Para tomar posición al respecto, expondré los ejemplos presentados por el autor, comparados con la noción de “dramaturgo de la otredad”, desarrollada por Gabriel Weisz (2003), con el fin de mostrar que, efectivamente, la idea del otro como salvaje está profundamente arraigada en el espíritu cultural occidental, pero no porque haya sido “inventado” por Occidente (lo que sea que eso signifique), sino porque los seres humanos de todas las épocas —en tanto que inventamos discursos respecto de los otros “con fines de autopurificación” (Weisz, 2003, pág. 140)— atendemos a necesidades intelectuales y políticas, que tienden a manifestarse con mayor frecuencia en Occidente, aunque no con exclusividad.

Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Dieses Werk ist lizenziert unter der Creative Commons Attribution 4.0 Lizenz (BY). Diese Lizenz erlaubt unter Voraussetzung der Namensnennung des Urhebers die Bearbeitung, Vervielfältigung und Verbreitung des Materials in jedem Format oder Medium für beliebige Zwecke, auch kommerziell. (Lizenztext: https://creativecommons.org/licenses/by/4.0/deed.de) Die Bedingungen der Creative-Commons-Lizenz gelten nur für Originalmaterial. Die Wiederverwendung von Material aus anderen Quellen (gekennzeichnet mit Quellenangabe) wie z.B. Schaubilder, Abbildungen, Fotos und Textauszüge erfordert ggf. weitere Nutzungsgenehmigungen durch den jeweiligen Rechteinhaber.

This paper studies Soong Tsung-faung’s (or Song Chunfang) English and
French publications in China between 1917 and 1921, and examines their relationship with his better-known writings in Chinese. Through the perspective of the “contact zone,” as proposed by Mary Louise Pratt, we are able to return Soong’s work to the transcultural context in the early republican period. As an active member in the multilingual public sphere, which consisted of local periodicals in Chinese as well as major European languages, Soong’s first target readers were his fellow inhabitants in
the contact zone.
His proposal of translating a selection of one hundred modern plays into
Chinese was originally presented in English. This not only allowed him to express freely from the judgement of traditional values, but also increased possibility of finding qualified translators for the project in the contact zone.
His French monograph La Littérature chinoise contemporaine discussed
the past, the present and suggested reform plans for the future of Chinese theatre. It was a result of both personal and collaborative work in the contact zone. Before their achievement on the subject crossed borders and contributed world-wide, the intellectual exchange in the contact zone played a crucial role in the producing of knowledge.

The preference to stage non-Chinese stories was an important aspect of
the origins of modern Chinese theatre. Although Western stories play a
crucial role in today’s repertoire, this phenomenon was just emerging at the turn of the twentieth century. In the aftermath of the Boxer Uprising, Chinese theatre underwent series of radical changes that were envisioned by intellectuals as well as theatre practitioners. This article first analyzes the idea of adapting foreign stories for the Chinese stage. In contemporary discussions about China’s position in the world, “the stage” (wutai) became a synonym of “the globe” (shijie). Naturally, it was believed that to stage global events could foster the spectators’ awareness of the nation’s situation in the world and to envision their place in the future. Although interested in using non-Chinese plots, late Qing theatrum mundi was in fact a form of national theatre, in which all the foreign appearances on the stage were part of the state-of-the-nation plays.

This article then turns to three stage productions of Harriet Beecher
Stowe’s Uncle Tom’s Cabin. Lin Shu and Wei Yi’s Chinese version of this
novel (1901) was meant to serve as a political warning to the Chinese people. Evidence shows that their point was well understood by many readers, and the different stage versions of this novel can therefore be viewed as reinforcement to these reactions. By examining the forms and contents of the stage adaptations of the novel, it is possible to illuminate the formation of theatrum mundi in the modern Chinese theatre.

Wang Zhongsheng´s theatre entrepreneurship has long been noticed in the history of modern Chinese theatre. This paper further analyses some of his most representative works by using materials from contemporary newspapers such as advertisements, announcements and reviews. The contextualization of Wang´s creative works helps to reveal the social network of the two organizations which he was vividly involved with: the Spring Sun Society and the Tongjian Drama School. On the basis of this network and the repertoire established during this period, Wang began his career as a new kind of dramatist in late Qing commercial theatre.

The avant-garde style of Wang Zhongsheng´s New Drama preferred dialogues to singing, as it would be the case of traditional“operas.＂The other marks of his work were the scene changes with curtain and backdrops in the way of Western theatre. His pioneering works were temporarily attractive to normal theatergoers. During Wang´s search of appreciations for his untraditional form of plays, many innovations were carried out and milestones of modern Chinese theatre were laid.

Full interview available here: https://www.jhuptheatre.org/theatre-journal/online-content/issue/volume-75-issue-2-june-2023/there-are-no-bosses-between-us

Widely considered amongst the most innovative figures in Italian contemporary art, Antonio Rezza (1965) and Flavia Mastrella (1960) (also known as “RezzaMastrella”) are two artists based in the province of Rome. Their creations span across different media, including theatre, literature, photography, and cinema. In addition of creating fourteen theatrical productions—some of which feature Rezza as solo performer—they have co-directed several feature-length films presented at international festivals, authored books, exhibited works in art galleries and created several television shows. Their work has toured in France, Spain, the United States, Russia, and China. After receiving several honours during their career, including the Special Ubu Prize (2013), Antonio Rezza and Flavia Mastrella were awarded the “Golden Lion for Lifetime Achievement” by the Venice Biennale in 2018.

Postsocialism has been widely discussed in analyses of mainland Chinese culture and society since the Mao era (post-1976), and especially since the onset of economic reforms that began in the 1980s and gained momentum in the 1990s. Despite its prominence in contemporary scholarly discourse, however, the implications of postsocialism for the study of Chinese performance cultures have yet to be evaluated. Similarly, the concept of post-socialist realism has been proposed to examine aesthetic strategies in post-1980s Chinese films that challenge the tenets of Mao-era socialist realist filmmaking. However, no study to date has explored the nexus of postsocialism and realism in the performing arts. Therefore, this chapter seeks to foreground the performative dimensions of China's post-socialist reality and conceptualize post-socialist realism in contemporary performance as a shift from "realist drama" to "theater of the real." On the one hand, the contemporary redefinition of realism is situated in the context of the experimental theater scene that has developed in China's major urban centers since the late twentieth century. On the other hand, it is assessed in relation to the newly emerging independent performance practices since the second decade of the twenty-first century. The chapter addresses the theoretical debate and aesthetic engagement with the conventions of twentieth-century realism in its various pre- and post-revolutionary manifestations in order to identify a fundamental renegotiation of mimetic, representational, and psychological realism at the turn of the twenty-first century and to detail the post-millennial articulation of new modes of mediated, embodied, and documentary realism that characterize China's post-socialist theater of the real. The postsocialist critique of realist aesthetics as constitutive of modern Chinese spoken drama also entails a broader ontological-terminological reconsideration of the notions of "drama" and "theater," as well as a shift from the dramatic to the postdramatic in the realm of praxis. The chapter concludes with a brief reflection on the potential limits of the theater of the real under the specific regime of governmentality in contemporary China.

The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.

本論文主要分析晚清民國三個《西廂記》法語譯本／改本，探究中、法
文人如何在晚清民國文化交流模式的轉變過程中，以劇本譯介、小說改編為
方法，介入漢學知識傳遞。《西廂記》法譯本首見於十九世紀漢學家儒蓮
（Stanislas Julien）手筆，一八七二至一八八○年出版。儒蓮譯本被後繼漢學家莫朗（George Soulié de Morant）批評為遲滯，認為原作風格裡晶瑩剔透的優雅氣韻，在學究沉重的手筆下消失殆盡。然而莫朗並未重譯《西廂記》，而是將其改寫為小說體裁，題為《戀愛少女金鶯：十三世紀中國愛情小說》，一九二八年出版。民國留法學生沈寶基批評莫朗改本不見王實甫的詩意，但沈寶基同樣未重譯《西廂記》全文，卻在一九三四年以《西廂記》為題撰寫論文，獲里昂大學博士學位。沈氏藉由專門章節詳述《西廂記》各折劇情，間以選錄（甚至重新改寫的）賓白、唱詞穿插其中。論文最後一部分事實上並非沈寶基個人的見解，而是選錄沈德符、周德清、毛聲山、焦循、鄭振鐸等自古到今的研究，將其翻譯為法語。這些西方（法國）學者所未曾查考的國學觀點，導致十九世紀中期以來的漢學研究媒材與傳播方法產生變動，進而豐富了法國的元雜劇研究。
This paper aims to analyze three French translations/adaptations of The Story of the West Chamber (Xi Xiang Ji) published in the late Qing and early Republican China. My research focuses on the contribution of Chinese and French intellectuals to the transfer of Sinological knowledge, and I will examine how they remapped the cultural exchange model by means of adaptation and translation. The first French translation of The Story of the West Chamber was accomplished by the nineteenthcentury
Sinologist Stanislas Julien and published between 1872 and 1880. Julien’s
translation was however criticized by the twentieth-century Sinologist George Soulié de Morant, as lacking energy. According to De Morant, the elegance in the original script has evaporated because of Julien’s heavy and pedantic writing. De Morant did not retranslate The Story of the West Chamber. Nevertheless, the story was rewritten by him and published in 1928 as a novel entitled Girls in Love, Orioles: A Chinese Romance Novel in the Thirteenth Century. The novel did not earn unanimous reputation. Shen Baoji (Chen Pao-ki), an early twentieth-century Chinese student in Sinology, criticized De Morant’s revision for its lack of poetry. Still, Shen Baoji did not offer a new complete translation of The Story of the West Chamber. He received a doctorate from the University of Lyon, and in 1934 published his dissertation entitled The Story of the West Chamber. In addition to analysis of details of The Story of the West Chamber, Shen’s study also showed selected (or revised) narrations and lyrics taken from the original play. The last part of Shen’s work is based on research of Chinese scholars such as Shen Defu, Zhou Deqing, Mao Shengshan, Jiao Xun, Zheng Zhenduo, etc. Translated by Shen into French, the Chinese studies produced by Chinese scholars had access to the stage of western Sinology. The Sinology tradition established in the mid-19th century underwent changes, and the works of Chinese students/scholars enriched the study of Yuan drama in France.

1933年7月美国黑人诗人休斯访华是1930年代左翼国际主义的大背景下的文化事件,其意义亦应在这一背景下探讨。1930年代初共产国际对"黑人问题"的重视,为休斯走向国际舞台提供了条件。休斯本人对1920年代美国黑人文学中"异域化"倾向的反思,构成了他向左转的内在动力。他对现代中国的体验与书写,传达出跨越民族边界的基于共同被压迫境遇的连带感。左翼国际主义虽然促成了休斯的苏联与中国之行,但其中隐含的以民族为单位的认识框架仍构成了某种内在限制,并影响了1930年代中国文坛对休斯的接受。而鲁迅对休斯和黑人的共情则体现出他对这一框架的超越,这与休斯对连带感的体认是内在相通的。

En este artículo se describen los hechos fundamentales, el comportamiento y la obra del poeta, dramaturgo y escritor Antonin Artaud, lo que sirve para presentar una aproximación al entendimiento de la estructura psíquica del autor. Artaud fue parte del movimiento surrealista francés. Nació el 4 de septiembre de 1896 en Marsella (Francia) y murió el 4 de marzo de 1948 en París. Este autor dio sentido a sus imágenes internas crueles y amenazantes mediante el arte. Representó su mundo psíquico interno a través de su obra, mostrando la angustia del sujeto que se ha quedado en la representación "cosa", que no ha podido adquirir un sentido de vida a través de lo que percibe del exterior, sino que interpreta al mundo mediante sensaciones y percepciones originales de la "cosa", carente de afectividad, que a cada momento lo amenaza de muerte. Sus acciones y obras hacen patente su amor hacia todo ser humano que vive una patología en oposición a las instituciones. Con su vida y obra, Antonin Artaud lleva al espectador a tocar la crueldad de no poder ser. De hecho, en su legado propone el reconocimiento y el respeto a las formas de ser de cada quien, permitiendo la libertad de su expresión, experimentación y realización auténtica sustentada en el amor y en el compromiso con la realidad.

Hu Xingliang 胡星亮: Zhongguo xiandai xiju sichao-Xiju xiandaihua yu shehui xiandaihua 中国现代戏剧思潮-戏剧现代化与社会现代化 (Trends of Thought in Modern Chinese Theater-The Modernization of Theater and the Modernization of Society), Beijing shifan daxue chubanshe 北京师范大学出版社, 2022. ISBN 978-7-303-27803-9; 344 pages; 79 RMB. Reviewed by Stefan Christ (FAU Erlangen-Nürnberg) I am interested in the relationship between theater and society, and so I was excited to read the new book by Hu Xingliang, Trends of Thought in Modern Chinese Theater-The Modernization of Theater and the Modernization of Society (hereafter Trends of Thought). However, I soon realized that it is not a new book at all, but a slightly revised version of Ershi shiji Zhongguo xiju sichao 二十世纪中国戏剧思潮 (Trends of Thought in Chinese Theater in the Twentieth Century), published in 1995 by Jiangsu wenyi chubanshe. Nevertheless, Hu Xingliang is such an important gure in modern Chinese theater studies that his book still deserves a critical review. As a matter of fact, Trends of Thought has been republished along with three other books by Hu to celebrate his scholarly accomplishments and the results of various large research projects conducted over the last several decades. [1]

Jingju (Beijing/Peking opera) is a synthesis of elements of many different regional forms and has a ‘tradition’ of innovation and integration of diverse influences. But it currently sits at the centre of intense conflicting pressures: the need to innovate to attract contemporary audiences and the need to preserve, engendered by its current status as endangered yet nationally representative performing art. As a result, jingju has become a difficult form within which to innovate successfully. This article analyses the interplay of traditional and innovative aural and visual elements in a 1999 award-winning jingju production, Camel Xiangzi. Jingju musical structures provided the core mode of character expression, but were interlaced with Beijing folk melodies and computer-synthesized elements in effective and innovative ways.

本文首節對西方漢學界中盛行的漢字字形決定漢詩藝術的觀點提出質疑，後續六節則從分析漢字字音對漢詩藝術的影響入手，剥絲抽繭，一層層地尋繹漢詩詩體之内聯性。首先發現的是，漢字每個字的發音是單音節，而絶大多數字又是含有意義的詞或是能與其他字結合的語素，從而使漢詩發展出一種獨一無二的節奏。此節奏的特點是韻律節奏和意義節奏總體是合二爲一，但兩者之間又存有分離的張力。其次，我們又探察到漢詩節奏與句法密不可分的關係。就傳統句法而言，每種詩體獨特的節奏都決定該詩體組詞造句的主要語序以及可以有何種變動的可能。從現代語法學句法的角度來看，每種詩體獨特的節奏決定了該詩體可以承載何種主謂句式，在時空邏輯的框架呈現何種主客觀現象，同時又可以承載何種題評句，超越時空邏輯關係來並列意象和言語，藉以激發讀者的想象活動。最後，我們從句法演繹到章法、篇法，發現三者都是遵循同樣的組織原則。主謂句所遵循的是時空和因果相連的綫性組織原則，而此原則運用在章節和詩篇的層次之上，便構造出連貫一致的綫性章節和詩篇。同樣，題評句所遵循的是時空和因果斷裂的組織原則，而此原則運用在章節和詩篇的層次之上，便構造出各種不同的斷裂章節和詩篇結構。