Intercultural Aesthetics in Traditional Chinese Theatre: From 1978 to the Present

Acknowledgements
Note on Translation and Names
Contents
List of Figures
Chapter 1: Introduction
	The Intercultural History of xiqu: Pre-modern Ages
	The Intercultural History of xiqu: In Search of Modernity
	Methodologies: Dialogism, Appropriation, and Agents
	Scope and Focus
	References
Chapter 2: ‘Egotistic’ Adaptations of King Lear: Intercultural Playwrights Haunted by Tradition
	Playwriting as the First Step of Intercultural xiqu
	Polyphonic Shakespeare
	The Dominant Authorial Voice and xiqu’s Traditions
	Didactic King Lear
		The Flattening of Characters
		Haunting Traditional Motifs
	Emotional Lear and Reduced Lear
		Characters as Wu’s Split Egos
		Silenced Shakespeare
	Coda
	References
Chapter 3: Border-Crossing Chou Actors in Beckettian Jingju
	Hybridity: CLT’s Formalistic Pursuit
	Role Types in xiqu
	Background for CLT’s Adaptation
	CLT’s Choice of Chan Buddhism
	The Challenge of Beckett’s Art of Failure
	Xiqu’s Principles
	Performing Comic Failure
	Coda
	References
Chapter 4: Expressionistic Chuanju: Ghosts and Scenography in Lady Macbeth
	Some Principles of Chinese Scenography
	Scenography and Its Transformation in xiqu
	Entering the Avant-Garde
	Xu Fen and Tian Mansha
	Lady Macbeth in the Form of Expressionistic chuanju
		Expressionistic Conventions
		Traditional Scenography by Another Name
	Coda
	References
Chapter 5: Reframing Audience Experiences: Brechtian Estrangement and Metatheatricality Displaced in Xiqu
	Performing Spaces in Transformation
	Change in the Creative System
	Audience Experiences Reconsidered
	Theatrical Illusionism in xiqu
	Brecht in/and China
	The Homecoming of the Good Person of Szechwan
		Visual Elements as Estrangement
		Failed Estrangement in Playwriting
	Metatheatricality in Cleopatra
		Defining Metatheatre
		Metatheatricality in xiqu
		Chi’s Metatheatricality
	Coda
	References
Chapter 6: Conclusion
	The Encounter of Tang Xianzu and Shakespeare in 2016: A New Paradigm?
	The Future of xiqu
	References
Correction to: Intercultural Aesthetics in Traditional Chinese Theatre
Appendix A: Glossary
Appendix B: Dynasties in Chinese History
Index