Abstract

The year 1998 marked the four hundredth anniversary of Tang Xianzu'saPeony Pavilion. By 1999 three major productions of the play had appeared in Europe, North America, Australia, and Asia. Chinese literature scholar Judith T. Zeitlin is one of the few who saw all three productions. In this article she examines them in terms of their relationship to Tang's original text and to the modern kunqud performance tradition.

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Additional Information

ISSN
1527-2109
Print ISSN
0742-5457
Pages
pp. 124-133
Launched on MUSE
2002-03-01
Open Access
No
Archive Status
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