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.

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.

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.