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

A REPORT ON THE SHANGHAI THEATRE ACADEMY WINTER INSTITUTE 2013:``SHANGHAI ENCOUNTERS'' EMILY E. WILCOX University of Michigan On January 10±20, 2013, the Shanghai Theatre Academy (Shanghai xiju xueyuan w2‡xb; hereafter STA) held its second annual Winter Institute, an elevenday global theater institute and workshop co-sponsored by Brown, Duke, New York, and Yale Universities. In 2012, the Institute's inaugural year, the starstudded lineup included internationally known theater scholars and practitioners Stan Lai (Lai Shengchuan ôrÝ), Tan Dun Zþ, and Richard Schechner, as well as twenty-six prestigious theater researchers and artists from China and the United States.1 Tan Dun returned for the 2013 Winter Institute, joined by seventeen other distinguished guests, including 21-year Tisch School of the Arts dean Mary Schmidt Campbell and Chinese Ambassador Wu Jianmin 3ú. Organized by NYU-trained Chinese performance studies scholar and playwright William Huizhu Sun (Sun Huizhu kàñ), the Winter Institute takes an interdisciplinary and practice-oriented approach to international theater exchange. Institute participantsÐabout one hundred of whom are students from the U.S., China, and other countriesÐtake part together in multi-day workshops led by visiting and local faculty. At the 2013 Institute, workshops included Daniel Stein's``The Body and the Actor,'' ``Beijing Opera Performance'' led by Xu Jiali (s—) and other STA faculty, ``How to Find an Audience'' by Anne Trites, ``Multimedia Physical Performance'' by Todd Winkler and myself, ``Introduction to Sound and Music for Theatre'' by Matthew Suttor, ``Introduction to Object Theater'' by Torry Bend, and a student-led class ``Physical Rasabox.'' Beijing opera (Jingju ¬‡) was a new addition in the 2013 Institute, and it was modeled after STA's annual Summer Institute, a three-week school in which foreign students come to Shanghai to receive practical training in Beijing opera performance, tuition and housing paid for by the Academy.2 In the workshops, experiences of physical training and collaborative artistic creation help participants overcome linguistic and cultural barriers. Students and faculty together learn new skills while 1 The 2012 Winter Institute was cosponsored by Brown, NYU, Princeton, and Yale. For more information on the 2012 Winter Institute, see and Sun Huizhu kàñ and Chen Yi s*, eds., 2012 dongji xueyuan: Bianyan, zhanxian Shanghai 2012¬cxb: h, Uþ w (2012 Winter Institute: Performing and unfolding Shanghai; Beijing: Wenhua yishu, 2013). 2 For information on the STA Summer Institute, contact STA Professor (Ms.) Xu Jiali s— at CHINOPERL: Journal of Chinese Oral and Performing Literature 32.1 (July 2013): 86±88 # The Permanent Conference on Chinese Oral and Performing Literature, Inc. 2013 DOI: 10.1179/0193777413Z.0000000002 developing cross-cultural friendships, and a performance on the ®nal evening of the Institute showcases the work developed in each class. Apart from workshops, the Winter Institute holds lectures and evening performances, which are open to all Institute faculty, participants, and members of the community. Lectures at the 2013 Institute included ``Building a Theater, Building a Public'' by Mary Schmidt Campbell, ``Long-Running Site-Speci®c Performance and Genres of Arts'' by Ge Hongbing [Ó, ``China and the Changing World'' by Wu Jianmin, ``Mo Yan and Wang Anyi: Rural Literature and Urban Culture'' by Chen Sihe sŒ, ``Multimedia Theatre'' by Todd Winkler,``Chinese Opera Today'' by Ye Changhai Iww, ``Introduction to Visual Listening'' by Daniel Stein, ``Chinese/Western Encounters in the Past Half Millennium'' by Joanna Waley-Cohen, ``Shanghai: Cultural Structure and Community Performance'' by Huang Changyong Ä Ç, ``Embodying Shakespearean Text'' by Maureen Quilligan, and ``Intercultural Opera Performance'' by Guo Yu í‡. Performances for the 2013 Institute included Hangzhou Yue Opera Company's (Hangzhou Yueju yuan mފ‡b) The Lady from the Sea (Haishang furen w +º; an adaptation of Ibsen's play of the same name), Tan Dun's Water Music (Shuiyue tang 4; a site-speci®c environmental musical piece with percussive dancing and singing performed in the water village of Zhujiajiao 1¶Ò), Shanghai Theatre Academy Chinese Opera College's (Shanghai xiju xueyuan xiqu xueyuan w2‡xb2òxb) Lost Dream of the Red Chamber (Honglou yimeng Z"; a new Beijing opera), Beijing Dance Academy (Beijing wudao xueyuan ¬Hxb) and Xin-Art-Lab's (Xin wu jie #L) Stay Alive (Huozhe jiu...


Additional Information

Print ISSN
pp. 86-88
Launched on MUSE
Open Access
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.