Drama in the People's Republic of China

Constantine Tung is Associate Professor of Chinese Language and Literature at the State University of New York at Buffalo. Colin MacKerras is Foundation Professor in the School of Modern Asian Studies, Griffith University, Australia.

• Preface and Acknowledgments Introduction: Tradition and Experience of the Drama of the People's Republic of China Constantine TungPart One Drama on Historical Themes Chapter 1. Hai Rui Dismissed From Office and China's Opposition Movement, 1958-1959 Lin ChenChapter 2. Images of Women in the Dramas of Guo Moruo: The Case of Empress Wu Bruce Gordon DoarPart Two Drama, Ideal and Theory Chapter 3. Prescriptive Dramatic Theory of the Cultural Revolution Ellen R. JuddChapter 4. Model Drama as Myth: A Semiotic Analysis of Taking Tiger Mountain by Strategy Kirk A. DentonChapter 5. Mei Lanfang, Stanislavsky and Brecht on China's Stage and Their Aesthetic Significance William Huizhu SunChapter 6. Huang Zuoling's Ideal of Drama and Bertolt Brecht Adrian HsiaPart Three Post 1976 Theater and Drama Chapter 7. Theater Activities in Post-Cultural Revolution China Daniel S. P. YangChapter 8. Modernization and Contemporary Chinese Theater: Commercialization and Professionalization Colin MackerrasChapter 9. The Darkened Vision: If I Were For Real and the Movie Gilbert C. F. FongChapter 10. Tensions of Reconciliation: Individualistic Rebels and Social Harmony in Bai Fengxi's Plays Constantine TungChapter 11. The Drama Tragic Song of Our Time (Shidai de beige ): Functions of Literature in the Eighties and Its Socio-Political Limitations Helmut MartinPart Four Foreign Theaters in China: Two Case Studies Chapter 12. Austrian Musical Theater and Music in China Gerd KaminskI And Else UnterriederChapter 13. Performances of Ibsen in China after 1949 Elisabeth EideChapter 14. Conclusion Colin Mackerras Notes on Contributors Index