In this Book

Shashibiya
summary
This book is an intriguing discussion of the levels of 'filtering' that any Shakespeare performance in China undergoes, and a close examination of how these filters reflect the continually-changing political, social and cultural practices.

Table of Contents

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  1. Cover
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  1. Frontmatter
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  1. Contents
  2. pp. v-vi
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  1. FIGURES
  2. pp. vii-viii
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  1. Preface
  2. pp. ix-xii
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  1. Introduction
  2. pp. 1-10
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  1. 1: Shakespeare in China: Between His First 'Arrival' and the Cultural Revolution
  2. pp. 11-52
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  1. 2: Orthodox Presentationsin Chinese Eyes: Much Ado About Nothing (1957, revival: 1961 & 1979) and Macbeth (1980)
  2. pp. 53-82
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  1. 3: Rebels Against the Classics: Hamlet (1989, 1990 & 1994) and Othello (1994)
  2. pp. 83-108
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  1. 4: The Chinese Faces of Shakespeare: Blood-stained Hands (Xie shouji)/ Macbeth (1986) Looking for Trouble (Wushishengfei) / Much Ado About Nothing (1986) The Prince's Revenge (Wangzi fuchou ji) / Hamlet (1994)
  2. pp. 109-160
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  1. 5: Keeping Shakespeare in the 'Original Sauce': Twelfth Night (Di shi'er ye, 1986) and Othello (Aosailuo, 1983,1986 & 1987)
  2. pp. 161-196
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  1. 6 Another Dimension in Intercultural Shakespeare: An English/Chinese Macbeth (1994) and A Taiwan/ Mainland Shamlet (a Parody of Hamlet, 1994)
  2. pp. 197-222
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  1. Conclusion: Old Man Sha: Dead or Sleeping?
  2. pp. 223-230
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  1. Appendix 1: A Chronology of Shakespeare Performances in China
  2. pp. 231-240
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  1. Appendix 2: Dramatis Personae and Role Types of Five Sinified Productions
  2. pp. 241-244
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  1. Notes
  2. pp. 245-268
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  1. Glossary
  2. pp. 269-284
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  1. References
  2. pp. 285-296
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  1. Index
  2. pp. 297-305
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