In lieu of an abstract, here is a brief excerpt of the content:

  • Addendum to Modern Chinese Drama in English: A Selective Bibliography
  • Siyuan Liu and Kevin J. Wetmore Jr.

This addendum adds works that should have been cited in the bibliography published in Asian Theatre Journal 26, no. 2 (2009): 320–351.

I. Listing by Playwright

Yang Jiang (Yang Chiang, 1911–)
Forging the Truth (Nongzhen chengjia, 1944). Translated by Amy D. Dooling. In Writing Women in Modern China: The Revolutionary Years, 1936–1976, edited by Amy D. Dooling. New York: Columbia University Press, 2005. [R]

III. Scholarly Works in English about Modern Chinese Drama

Huang, Alexander C. Y. Chinese Shakespeares: Two Centuries of Cultural Exchange. New York: Columbia University Press, 2009.
———. “Gao Xingjian, Exile, and Intercultural Theatre.” Hong Kong Drama Review 7 (2007): 507–513.
———. “Impersonation, Autobiography, and Cross-Cultural Adaptation: Lee Kuo-Hsiu’s Shamlet.Asian Theatre Journal 22, no. 1 (2005): 122–137.
———. “‘No World without Verona Walls’? Shakespeare in the Provincial Cultural Marketplace.” In Re-Playing Shakespeare in Asia, edited by Poonam Trivedi and Minami Ryuta, 251–268. London: Routledge, 2009.
———. “Pastiche and Identity in Taiwan’s Postmodern Theatre: Stan Lai and [End Page 279] Buddhism.” In Taiwan Literature and History, edited by Kuo-Ch’ing Tu, 213–222. University of California, Santa Barbara, Center for Taiwan Studies, 2007.
———. “Romeo and Juliet, Allegory, and the Ethnic Vocabularies of History.” Shakespeare Studies: Journal of the Japanese Shakespeare Society 46 (2008): 6–19.
———. “Shakespeare, Performance, and Autobiographical Interventions.” Shakespeare Bulletin: A Journal of Performance Criticism and Scholarship 2, no. 2 (2006): 31–47.
———. “Shamlet: Shakespeare as a Palimpsest.” In Shakespeare without English: The Reception of Shakespeare in Non-anglophone Countries, edited by Sukanta Chaudhuri and Chee Seng Lim, 21–45. Delhi: Pearson Longman, 2006.
———. “Site-Specific Hamlets and Reconfigured Localities: Jiang’an, Singapore, Elsinore.” Shakespearean International Yearbook 7 (2007): 22–48.
———. “The Politics of an ‘Apolitical’ Shakespeare: A Chinese-Soviet Joint Venture, 1950–1979.” Borrowers & Lenders: The Journal of Shakespeare and Appropriation 1, no. 2 (2005).
Li, Ruru. “Chinese Prince: Three Chinese Operatic Adaptations.” In Shakespeare’s World/World Shakespeare, edited by Richard Fotheringham, Christa Jansohn, and R. S. White, 303–329. Newark, DE: University of Delaware Press, 2008.
———. “Chinese-Speaking Theatre in Perspective.” Asian Theatre Journal 22, no. 2 (2005): 310–323.
———. “Negotiating Intercultural Spaces: Much Ado about Nothing and Romeo and Juliet on the Chinese Stage.” In World-Wide Shakespeares: Local Appropriations in Film and Performance, edited by Sonia Massai, 40–46. London: Routledge, 2005.
———. “‘Who is it that can tell me who I am? / Lear’s shadow.’—A Taiwanese Actor’s Personal Response to King Lear.Shakespeare Quarterly 57, no. 2 (2006): 195–215. [End Page 280]


Additional Information

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pp. 279-280
Launched on MUSE
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