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Shakespeare in China Shakespeare in China Dissertation zur Erlangung des Grades eines Doktors der Philosophie an der Fakultät für Sprach-, Literatur- und Kulturwissenschaften der Technischen Universität Dresden Vorgelegt von Yanna Sun Geboren am 16.05.1971 in V. R. China Betreuer: Prof. Dr. Uwe Böker Prof. Dr. Hans-Ulrich Mohr Prof. Dr. Alexander C. Y. Huang Die Einreichung: April 2008 Shakespeare in China Contents Acknowledgements................................................................................... 4 Textual Notes ............................................................................................ 5 Introduction .............................................................................................. 6 1 The History of China’s Reception of Shakespeare .......................... 12 1.1 Initial Phase (from Mid-19th Century to the Turn of 20th Century) ....... 13 1.2 Transitional Phase (from 1903 to 1920)..................................................... 16 1.3 Real Beginnings of Chinese Shakespeare (from 1921 to 1949)................ 18 1.4 Dawning of Chinese Shakespearean Criticism (in the 1950s) ................. 21 1.5 A Halt to Shakespearean Studies (during the Cultural Revolution of 1966 to 1976) ...................................................................................................... 25 1.6 Resuscitation of Shakespearean Studies (after the Cultural Revolution) ............................................................................................................................. 26 1.7 The Flowering of Shakespearean Studies (from the 1980s to the End of 20th Century) ...................................................................................................... 29 1.8 A Promising Future of Chinese Shakespeare (the 21st Century) ............ 34 2 Similarities between Shakespearean and Traditional Chinese Theatre.....................................................................................................36 2.1 Script............................................................................................................. 36 2.1.1 Source ................................................................................................ 36 2.1.2 Structure............................................................................................ 38 2.1.3 Imperial Theme ................................................................................ 43 2.2 Stage.............................................................................................................. 47 2.2.1 Verbal Image..................................................................................... 47 2.2.2 Supernatural Elements .................................................................... 49 2.2.3 Use of Aside or Soliloquy ................................................................. 51 2.2.4 Free Deployment of Time and Space .............................................. 52 3 Shakespearean Translations in China...............................................54 3.1 Difficulties in Translating Shakespeare..................................................... 55 3.1.1 Language Divergences...................................................................... 56 3.1.2 Cultural Differences ......................................................................... 57 3.2 Methods of Rendering Shakespeare .......................................................... 61 3.2.1 Chinese Translation Theory ............................................................ 61 3.2.2 Translating Methods ........................................................................ 63 3.2.2.1 Literal Translation in Rendering Shakespear .................... 66 3.2.2.2 Free translation in Rendering Shakespeare........................ 68 1 Shakespeare in China 3.3 Literary Form in Translating Shakespeare .............................................. 71 3.3.1 Fiction Form...................................................................................... 72 3.3.2 Prose Form........................................................................................ 76 3.3.3 Verse Form........................................................................................ 79 3.4 Rendering Complete Plays of Shakespeare ................................................ 81 3.4.1 Cao Weifeng ...................................................................................... 81 3.4.2 Liang Shiqiu...................................................................................... 83 3.4.3 Zhu Shenghao ................................................................................... 84 3.4.4 Fang Ping........................................................................................... 86 4 Shakespearean Criticism in China .................................................... 88 4.1 Introducing Western Shakespearean Criticism ....................................... 89 4.2 Marxist Shakespearean Criticism.............................................................. 92 4.3 Comparative Shakespearean Criticism..................................................... 94 4.3.1 Comparing Plays .............................................................................. 96 4.3.2 Comparing Writers .......................................................................... 99 4.3.3 Comparing Characters .................................................................. 101 5 Performing Shakespeare on the Chinese Stage..............................103 5.1 The Western Style...................................................................................... 106 5.2 The Chinese Style ...................................................................................... 108 5.3 A Hybrid of the Western and the Chinese Style..................................... 113 5.3.1 Spoken Drama ................................................................................ 113 5.3.2 Traditional Chinese Drama........................................................... 115 6 Chinese Productions of Shakespeare...............................................118 6.1 The History Play King Richard III ........................................................... 119 6.1.1 The Shakespearean Text: General Remarks ............................... 120 6.1.1.1 The Date of Composition .................................................... 120 6.1.1.2 The Sources .......................................................................... 122 6.1.1.3 Plot and Structure ............................................................... 126 6.1.1.4 Stage History........................................................................ 128 6.1.2 The 1986 Chinese Version of Richard III – li cha san shi ........... 132 6.1.2.1 The Context of the 1986 Production .................................. 134 6.1.2.2 Western Elements in the Production ................................. 138 6.1.2.2.1 The Make-up and Costumes.................................... 138 6.1.2.2.2 Theatrical Realism.................................................... 140 6.1.2.3 Alterations in the Production ............................................. 143 6.1.2.3.1 The Added Prologue................................................. 144 6.1.2.3.2 The Visulization of Murder On-stage..................... 146 6.2 The Tragedy Hamlet.................................................................................. 149 6.2.1 The Shakespearean Text: General Remarks ............................... 149 6.2.1.1 The Date of Composition .................................................... 149 6.2.1.2 The Sources .......................................................................... 152 2 Shakespeare in China 6.2.1.2.1 The Ur-Hamlet Play.................................................. 153 6.2.1.2.2 Belleforest’s Histoires Tragiques.............................. 155 6.2.1.3 Plot and Structure ............................................................... 157 6.2.1.4 Stage History........................................................................ 160 6.2.2 The 1989 Adaptation of Hamlet – Ha mu lai te ............................ 165 6.2.2.1 The Context of the 1989 Adaptation.................................. 167 6.2.2.2 Innovations in the Adaptation............................................ 169 6.2.2.2.1 The Mise en Scène .................................................... 170 6.2.2.2.2 The Play within the Play .......................................... 172 6.2.2.2.3 Thematic Rearrangement ........................................ 173 6.2.2.2.3.1 Textual Structure........................................... 174 6.2.2.2.3.2 Role-Transition.............................................. 177 6.3 The Comedy Much Ado About Nothing ................................................... 184 6.3.1 The Shakespearean Text: General Remarks ............................... 185 6.3.1.1 The Date of Composition .................................................... 185 6.3.1.2 The Sources .......................................................................... 187 6.3.1.3 Plot and Structure ............................................................... 190 6.3.1.4 Stage History........................................................................ 193 6.3.2 Much Ado About Nothing in the Huangmeixi Genre ................... 196 6.3.2.1 The Huangmeixi Genre ....................................................... 197 6.3.2.2 The Chinese Adaptation Looking for Trouble................... 198 6.3.2.2.1 The Shakespearean Spirit Kept in the Adaptation
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