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Spring 2014

Meaning in Movement: Adaptation and the Xiqu Body in Intercultural Chinese Theatre

Emily E. Wilcox William & Mary, [email protected]

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Recommended Citation Wilcox, Emily E., Meaning in Movement: Adaptation and the Xiqu Body in Intercultural Chinese Theatre (2014). TDR: The Drama Review, 58(1), 42-63. https://doi.org/10.1162/DRAM_a_00327

This Article is brought to you for free and open access by the Arts and Sciences at W&M ScholarWorks. It has been accepted for inclusion in Arts & Sciences Articles by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Meaning in Movement Adaptation and the Xiqu Body in Intercultural Chinese Theatre Emily E. Wilcox

Strindberg Rewritten “You don’t know what to do? Let me tell you. Let me show you!”1 Jean yells this at Julie as he gives a villainous laugh and tosses his ankle-length silk sleeves into the air. Jean rushes toward Julie, grabs what we now know is an imaginary bird from Julie’s hand and, facing the audience, violently wrings the bird’s neck, killing it. The bird still in his hand, Jean bends both legs into a deep squat, spins his arms like a jet propeller in a fanshen2 turn, and then bashes the bird’s body into the stage floor. Julie screams. Jean lets out a violent shout, whips his sleeves toward the floor and struts away offstage in a wide-legged swagger.3

1. In performance, the lines are spoken or sung in Mandarin with English subtitles. The quotations here are taken from the English subtitles, which audiences see projected on a screen while listening to the performance in Chinese. 2. Fanshen 翻身 is a technical trick in which the actor spins with both arms straight up and perpendicular to the floor, giving the effect of a windmill or propeller. It is used in xiqu and some forms of Chinese classical dance. 3. This stylized walking is part of the xiqu movement repertoire for male characters.

TDR: The Drama Review 58:1 (T221) Spring 2014. ©2014 42 New York University and the Massachusetts Institute of Technology

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user on 13 September 2021 The Xiqu Body 43 adap- Zhuli Zhuli see Goldstein (2007). see Goldstein (2007). ), also from the Sea), The Lady ), an experimental ), Miss Julie and it is a comprehensive theatrical approach to representation, as explained below. explained as representation, to approach — Xin bi tian gao The first in the series was Xin bi tian gao 6 incorporates the four elements of performance incorporates the four elements of performance by William Huizhu Sun Sun Huizhu William by Julie), (Miss xiaojie Zhuli In 2008–2009 she was a resident visiting researcher visiting researcher 2008–2009 she was a resident In - Zhuli xiaojie is one in a new series of experimen meaning) (writing actors, actors, xieyi and the anthology and the Individual Chinese Modernity (1996). For a website with details on the 2012 Winter Winter 2012 the on details with website a For (1996). xiaojie Zhuli styles, jingju styles, and, heartbroken, she sings: “The cruel man is evil incarnate.” Her is evil incarnate.” “The cruel man she sings: heartbroken, and, 4 see Dolby (1976) and Mackerras (1983). For a history of jingju (1983). For (1976) and Mackerras see Dolby 5 Aspiration Sky High), an all-female yueju (a Southern style of xiqu) Aspiration Sky High), is among the youngest of these forms, developed in northern China during developed in northern of these forms, is among the youngest or premiered in the Shanghai Theatre Academy blackbox theatre on 7 March 2010. As of August 2012, 2012, August of As 2010. March 7 on theatre blackbox Academy Theatre Shanghai the in premiered singing, speaking, moving, and acrobatics moving, speaking, singing, —

performances by playwrights Sun and Fei. . Kipnis (2012; Palgrave) edited by Andrew , or Chinese indigenous theatre, of which there are more than of which there are more theatre, or Chinese indigenous xiqu, is a regional style of adaptation of August Strindberg’s 1888 play. Known more commonly as Beijing opera, commonly as Beijing opera, Known more Strindberg’s 1888 play. August adaptation of

For a general history of xiqu For See “The Weeping Sleeve” (Zung [1937] 1964:87). Stylized weeping is part of the antirealistic aesthetic of of aesthetic part is weeping antirealistic the of Stylized 1964:87). [1937] (Zung Sleeve” Weeping “The See a uses which theatre, indigenous Chinese Created by a team of artists at the Shanghai Theatre Academy, including playwrights Academy, Theatre Created by a team of artists at the Shanghai “My dear Skylark is decapitated!” Her sleeves fly up in the air, and float down. She continues and float down. up in the air, Her sleeves fly is decapitated!” “My dear Skylark sight.” I must have lost my mind and my neck. if his claws had wrung “As she stares absently, All the while, ground. back to the deflated, then sinks, Julie sits up briefly, They couldn’t tell pearls “My eyes were a sightless belly button. Jean calls from backstage: , final aria of Zhuli xiaojie (朱丽小姐 Thus begins the climactic Kneeling over the bird corpse, Julie sends both her sleeves out horizontally to the sides in to the sides in sleeves out horizontally Julie sends both her the bird corpse, Kneeling over Zhuli xiaojie Zhuli the at staged was work the 2012, January In Italy. and Sweden, Ireland, England, performedbeen had it Iran, in saw the first I where is which Institute, Winter Shanghai” part as Academy “Performing the of Theatre Shanghai in actors the Zhao, post-performancethe for Sun, included that discussion interpreted I performedpiece live. on details with blog web a For States. United the and China from members audience and xiaojie, Zhuli see videos, and photos including xiaojie, Institute, see STA Winter Institute (2011). See also Tarryn Chun’s essay in this issue. this in essay Chun’s Tarryn also See (2011). Institute Winter STA see Institute, 5. 4. genre unique to China. William Huizhu Sun and Faye Chunfang Fei, director Zhao Qun, and producer Guo Yu, and Yu, and producer Guo Zhao Qun, director Sun and Faye Chunfang Fei, Huizhu William performed by three professional jingju tal xiqu the mid-19th century. Like all xiqu the mid-19th century. 300 regional forms in China today. The earliest xiqu performances emerged around the 12th The earliest xiqu performances China today. 300 regional forms in and jingju century, arms cross back and forth over her chest. back and forth over arms cross in a prostrating position. down on the stage kneeling the bird, to bend over her head bowed forward. to your dead bird!” Go cry a river living weakens your mind. Soft from mutton. jingju jingju technique in the Department of Asian Languages Chinese Studies of Modern is Assistant Professor Wilcox E. Emily postdoctoral also holds a nonresidential She Arbor. Ann of Michigan, at the University and Cultures Chinese dance are interests Her primaryresearch Academy. Theatre Shanghai at the fellowship research Body Journal, and contemporary and her publications appear in Asian Theatre performance culture, Kroeber Anthropology Movement, of Human Study for the Anthropological Journal and Society, pinglun, Yihai, Wudao Society Papers, Psyche [email protected] Academy. at the Beijing Dance

despair. Tenderly, she bends forward to caress her pet bird. Her posture and sleeve movements Her posture and caress her pet bird. she bends forward to Tenderly, despair. she is weeping, indicate that Figure 1. (facing page) Zhao Qun as Julie (Zhuli) in (Zhuli) Julie as Qun Zhao page) (facing 1. Figure (Courtesy 2012. October of 20 Italy, Milan, Theatre, Piccolo Yu. Guo by directed Fei, Chunfang Faye and Zhao Qun) , which premiered at the Hangzhou Yue Opera Company in Yue which premiered at the Hangzhou tation of Ibsen’s 1880 Hedda Gabler, (海上夫人, Other works in the series include Haishang furen 2006. , Hedda (心比天高, 6. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user on 13 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user on 13September 2021

44 Emily E. Wilcox Yong’an’s landmark1983Aosailuo, and/or choreographedgesturesandmovement” (126). Often, thismeansthat, “the characters’innermonologues[are]presentedthroughsinging extensive cutstoleaveroomfortheextravagantlystylizedacting,” writeFeiandSun(2006:127). “In usingShakespearetohelprejuvenatetraditionalChinesetheatre, adaptershadtomake and behighlyselectiveofdialoguessoliloquiestotranslateorrepresent” (Huang2009:170). CulturalExchange, “Chineseopera, forpracticalandaestheticreasons, hastocondensetheplot arias, dance, combat, andacrobatics,” writes Alex HuanginChineseShakespeares: Two Centuriesof script, asevidencedbyChineseoperaadaptationsofShakespeare. “To accommodateoperatic matic works? stylized xiqu ture tobetransmittedthroughtheperformance;andfinally, Whatcanbegainedfromusing the processesofadapting Western dramaforxiqu;Howdothese changesallowembodiedcul- Xin bitiangao (Heddaor Aspiration SkyHigh)raise character andthescene(186–88). suit newcharacters. Ma’s1983Aosailuo, and charactersadjusted. Inothercases, thexiqucharactertypesarecombinedoradaptedto to makecharactersin Western dramasbettersuitthecharactertypesinxiqu, storiesarealtered styles, asdooldandyoungmen, warriorsandscholars, moralandimmoralfigures, etc. Often, so thatcourtladiesandmaids, forexample, havedifferentcostuming, singing, andmovement 2009:182–83). Inxiqu, is “trimmed andcondensed” andsectionsconducivetoxiqu of xiqu zihan (明月子翰, MingyueandZihan), bothjingju a yueju

Shanghai Theatre andSunina2011articleThePeople’s Daily, bodily formtoChineseculture. “Because thestoriesarefamiliar,” writesFeiina2010article itly interculturalgoalfoundedintheplaywrights’convictionthatperformancetechniquesgive 10. argues, makesxiquanidealmediumforteachingandpromotinginterculturalunderstanding. the EraofInterculturalism,” liesinits “socially constructedbody” (2009:10). The xiqu The valueofxiqu, arguesSuninaTDRarticleon “Performing Arts andCulturalIdentityin 7. 9. 8. Even inadaptationsthatseektoremainastruetheoriginalscriptpossible If xiqu The climacticariascenesintwoworksSunandFei’sseries See book the forthcoming essence ofChineseaestheticsaccumulatedwithinthem, expressivity. The stylizedmovementsfoundinxiquarecapableoftransmittingthe audiences canfocusontheChinese-styleperformancetechniques, whicharefullof Like manypreviousxiqu Adapting Western dramasforxiqu eigners todevelopanunderstandingofChineseculture. wise indicated. The original phrase used here is “其中积淀着的中国美学的精髓 .” All translations are my own, unless other- indicatingThe that same it sentenceis appears an inofficial both position articles, shared by the playwrights. Huang (2009). Xiqu productions of Shakespeare are among the most common xiqu the Performing in February Arts 2014. Chunfang Fei. performance techniques, whatexactlydotheseshiftsentail, andwhatdothenewworks adaptation ofanIbsenplay, andWangzhe hedi(王者俄狄, KingOedipus) adaptations of Western dramanecessarilychangescriptstofacilitate fullexpression performance techniquesinthestagingofstoriesandcharacters of Western dra- Hedda and performance trainingisdifferentiatedbycharactertypeorhangdang, The Lady from the Sea 西戏中演 adaptations of Western drama,

(Western Drama, Chinese Performance) by William Huizhu Sun and Faye a jingju nearly alwaysrequiresmajorchangestotheoriginal like manyworks, usesbothmethods, dependingonthe adaptation ofOthello, isoneexample will be presented in New York at the NYU Skirball Center for adaptations ofGreekmyths. three questions: What changesaremadein 10 8 adaptations of Western drama. See thisnewserieshasanexplic- are extendedorreshaped(Huang therebyattractingmorefor 9 — Zhuli xiaojie(MissJulie) 7 —

and the script — Mingyue Ma body, he - and The Xiqu Body 45 - - - and ver

12 seeks to convey the body moves in body moves has sometimes per because, as Huang explains, explains, as Huang because, [spoken drama] (Huang 2009:175). However, it also leads However, (Huang 2009:175). and naturalistic theatre is xiqu’s focus on and naturalistic theatre generates theatricality and affect in ways that are dif- generates theatricality as a more embodied and visual form, is less capable of con- is as a more embodied and visual form, body, and how does it move? how does it move? and body, performance techniques, including the presentational principle of xieyi performance techniques, a defining feature of Chinese indigenous performance. In both works, adap- both works, In Chinese indigenous performance. a defining feature of into a system of signification antithetical to huaju adaptations of Western drama, stylized movement such as singing and the manipula- stylized movement such as singing drama, Western adaptations of

refers to Western realistic theatre introduced to China in the early 20th century. Chinese playwrights and and playwrights Chinese 20th century. early the in China to introduced theatre realistic Western to refers has been described as sumptuously visual, a genre that delights audiences, particularly a genre that delights audiences, has been described as sumptuously visual, , as in many other of Sun and Fei’s as in many other , Zhuli xiaojie and Xin bi tian gao In both or sentiment.

Sometimes also translated as “love” (see Birch 1995:142). Birch (see “love” as translated also Sometimes adaptations, the original scripts are adjusted to create new spaces for the exploration and scripts are adjusted to create new spaces the original adaptations,

11 Huaju Huaju appear China in drama Western of adaptations Chinese most and huaju, developed artistsextensively have theatre historya (2010). Chen see China, in drama spoken of For form. this in 情 By shifting the focus to qing, the adapted scripts and their performance allow for fuller the adapted scripts and their performance allow for By shifting the focus to qing, some of the original scripts’ nuances are lost in this process of shifting from Often, Xiqu In xiqu Movement, here, is understood as both kinetic and sentimental: the xiqu and sentimental: the as both kinetic is understood here, Movement, What is the xiqu Put simply: non-Chinese, with its exoticism, color, and stunts. This focus on the spectacular often produces and stunts. color, with its exoticism, non-Chinese, in xiqu and generates interest “positive stereotyping” xiqu expression of qing, and singing, of movement, incorporation of xiqu performance techniques tation facilitates the the intro- At the same time, at the externalization of emotion and feeling. props that are aimed repertoires helps expand these forms’ duction of adapted texts into Chinese performance expressive possibilities and thematic content. engagement of xiqu xieyi verisimilitude, Distinct from representational writing meaning). (写意, in Listening to Wichmann, Elizabeth exact form. essence of things rather than to imitate their exter “It is through the display of skills, writes, , Beijing Opera Dimension of Aural The Theatre: characters and elaborating upon their actions and nalizing the thoughts and feelings of major builds an that Beijing opera performance transcends a resemblance to life and interactions, xiqu adaptations replace naturalistic aes- Thus, (1991:2). overall effect that conveys its essence” not often introducing imagery and sentimental exploration thetics with the aesthetics of xieyi, evident in the original. what is lost includes For Zhuli xiaojie, xiqu. ­naturalist-inspired spoken drama to xieyi-inspired articulation and in the verbal and gender relations, some complexity in the portrayal of class reputa- Hedda’s coldness and preoccupation with In Xin bi tian gao, of psychological conflict. New a more conventional longing for past romance. tion are replaced by personal ambition and of the affective expressive- is gained in both adaptations through a plumbing however, depth, and movement to enact character and music, of props, including the use ness of the xiqu body, plot development. to the misunderstanding that xiqu, such as veying complex plots and characters than theatre that relies more on verbal expression, “It is unfortunate that the ideological investments in Chinese opera’s visuality spoken drama. have turned xiqu 12. 11. qing, space, and it moves audiences. and it moves space, (2009:186). of the characters” kinetic representation of the psyche “[xiqu technique] demands differences between xiqu One of the most important tion of props (sleeves, swords, chairs, etc.) chairs, swords, tion of props (sleeves, ferent from naturalistic spoken drama. Movement is central to xiqu Movement is central spoken drama. ferent from naturalistic generate that is new or different from the original scripts? Furthermore, how is “embodied cul- “embodied how is Furthermore, from the original scripts? is new or different generate that of xiqu, embodied culture What comprises the process? factor in this adaptation a central ture” in intercultural performance? it most fully engaged and how is a focus on the visual and bodily elements of xiqu Thus, (176). balization” “The idea of a forms and embodied performance. Asian theatre petuated the devaluation of Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user on 13 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user on 13September 2021

46 Emily E. Wilcox 15. ture. Qing 18th tomid-20thcenturies), a “cult ofqing” result from “stirrings ofemotionandsentiment.” states thatinitsmostbasicdefinitionyuewu mental humanrelationsthatbindacommunity. When theywroteaboutandperformedqing that qing, asitwasusedbyChineseintellectualsandcritics atthetime, cametomeanthesenti- In hisaccountofthereinventionjingjuinearly20thcentury, JoshuaGoldsteinargues means “interpersonal relations,” even insomecasesnationalsentiment(Goldstein2007:138). outside thesexualrelationship” (Birch1995:142). Apart fromloveandsentiment, qing that “includes category as “sentiment,”translated “feeling,” “passion,”or “love,” qing engagement ofthexiqu lost ways thattextualandverbalmodesofperformanceoftendonot;somethingisgained show howintheseadaptationsof Western dramasthexiqubodysignifies, means, andmovesin exploring thesignificationandartistryofxiqu hierarchy rankingtheverbalovervisual, nordoIseektoreversethishierarchy. Rather, by ing capacityofthexiqu print thatputsspectaclestotheserviceoftextualelucidation” (231). necessarily Asian visualityisimplicatedinahierarchicalviewinformedbyanideologyofthe 14. 13. music, poetry, anddanceformthatdominatedearlyChinesecourt-sponsoredperformance, century, andpossiblybefore. Oneoftheearliestknownwritingsonyuewu Qing Qing of theiranguishedpining, andintheirhappyreunionwhen loveovercomesdeath. passionate scenesofloversmeetingingardensanddreams, intheslowdeathandloneliness Peony Pavilion (c. 1598) the mostpopularstyleamongChineseelites(Dolby1976;Mackerras 1983;andBirch1995). In 1644), sentimentallovestoriesstagedinthesouthernxiqu sional xiqu through ademonstrationoftheimmensetheatricalandexpressivepowermultidimen- (Huang 2009:168)of Asian visuality,thetics andculturenotonlythrough but “ocular proof” tiple levels. Adaptations makepossibleanunderstandingandappreciationofChineseaes- generated throughstylizedxiqu Alex Huangwarns, butratherarereformedtoproducenewtheatricaleffects(Huang2009:181). the transformationfromdramatoxiqu, textualmeaningsarenot “translated” intospectacle, as movement inavirtuosicdisplaythatisnotonlyspectacularbutalsomovingandmeaningful. In formance technique. The trainedbodyofthexiqu on qingandthroughtheinterconnectedengagementofmultiplechannelsxiqu For an analysis of qing Long, Xu, and Ou (1999:60). To movebeyondanotionof “Asian visuality” asspectaclerequiresrecognizingthesignify- The line, whichbegins “凡音之起，由人心生也 ...” in the For of Chinese dance, see a general history Wang (1985). At itsmostbasic, qing In xiqu In theadaptationsdiscussedhere, newmeaningsandaffectsaregeneratedthroughthefocus — has beenadominantfeatureofindigenousChineseperformancesinceatleastthe16th through theadaptationprocess, specificallytheaddedmeaningsmadepossiblethrough in ChinesePerformance adaptations of Western dramas, newmeaningsarecreatedandaffectiveimpacts was thefocusofaestheticconnoisseurship(Lee2007). body. in — empathy, devotion, [and]thevirtuesofthat broader lovethatexistsalso body. Thus, byfocusingonthephysical, Idonotseektoreinscribethe body. Peony Pavilion the mostrepresentativeworkofKunopera means sentiment, feeling, orlove. DuringtheMingdynasty(1368– bodily performancetechniquesthatengagethesensesonmul- see Birch (1995). dominated Chinese expresses “movements ofthehumanheart” which 14 body ininterculturalperformance, Iwantto BythelateQingandRepublicaneras(late actor employscostumes, props, music, and Record of Music form ofkunju, orKunopera, was in theseperformancesisabroad elite literaryandartisticcul- ( Yueji — ), is quoted and explained in qing (乐舞), can befeltinthe the mixed 15 Although per also - — 13 not

in The Xiqu Body 47 Zhuli Zhuli - body. This is the scene body.

16 and ‘affection,’ ‘passion,’ or ‘sentiment’ ‘passion,’ - (ganq and ‘affection,’ , at Shanghai Theatre Academy, 10 January (Courtesy 2012. 10 Academy, Theatre Shanghai at , Julie) (Miss Figure 2. Liu Lu as Julie (Zhuli) and Qin Hao as Jean (Xiang Qiang) in Qiang) (Xiang Jean as Hao Qin and (Zhuli) Julie as Lu Liu 2. Figure xiaojie Qun) Zhao of are from the Modern Library Online version (Strindberg 1888). Library (Strindberg version Online Modern the from are allows for a full engagement of the xiqu Miss Julie in Body Miss Julie Julie Miss of the , the changes made in the final scene of Zhuli xioajie , version of Miss Julie as the or Yue opera in 20th-century Shanghai, Jin Jiang argues that the focus on Jin Jiang argues 20th-century Shanghai, opera in Yue or the Xiqu and human relations can be traced to Confucian codes of interpersonal ethics in of interpersonal to Confucian codes relations can be traced and human

remains an important feature of indigenous performance in China. In her account In in China. indigenous performance important feature of remains an Sun and Fei have significantly altered the scene, cutting out almost all of Sun and Fei have significantly altered the scene, Zhuli xiaojie, defined as defined as ), (renqing “‘[h]uman feelings’ nevertheless remained cen-

In All quotes from Strindberg’s Strindberg’s from quotes All Qing In Strindberg’s version, Jean asks Julie to leave the bird behind, and Julie protests. “I’d rather and Julie protests. to leave the bird behind, Jean asks Julie In Strindberg’s version, the dialogue and centering the dramatic action on the bird’s death and Julie’s response to it. To To to it. the dialogue and centering the dramatic action on the bird’s death and Julie’s response Jean is depicted as someone rougher and contrast with Julie’s outsized grief over her pet bird, 16. demonstrate how a shift to qing In Sun and Fei’s jingju Adapting for Republican-era jingju therefore, Chinese xiqu critics and actors also conveyed a sentimental or a sentimental and actors also conveyed Chinese xiqu critics jingju therefore, Republican-era The connection (2007:139). of a nation” “inspire the coalescence feeling that could emotional between qing 2007). connectedness (Lee be separated from social emotion cannot which human yueju of women’s qing, ),” was the main reason for was the main ing),” Yue of the extreme popularity the film its impact on opera, development and the industry, com- of a powerful star system Yue female posed of well-known opera performers (2009:217). was offi- While romantic love - cially taboo in the revolution jingju “model opera” ary Cultural Revolution (1966–76), qing tral in its expression as politi- cal passion and national kinship ( Judd 1991; Chen 2002; Roberts During my fieldwork in 2010). Chinese dance and theatre con- servatories between 2007 and I found that teachers and 2012, critics alike cited qing most important goal of indige- nous Chinese performance arts. in which Jean kills Julie’s pet bird and she weeps over its death. The scene unfolds on the morn- weeps over its death. in which Jean kills Julie’s pet bird and she is distraught over whose father is a member of the gentry, and Julie, ing after a local holiday, Julie’s valet. her father’s and having had sex with Jean, having drunk too much the night before and Christine ( Jean, and Julie, the cook) father is due to return home anytime, Jean’s fiancée, Julie, together. Jean suggests he and Julie run away and open an inn are determining what to do. has packed her bird to take along. preparing to leave, A long conver Julie curses Jean. Enraged, Jean chops the bird’s head off. she says. you killed it,” later joined by Jean who had snuck away after decap- sation ensues between Julie and Christine, as though she to play the role of master and tell her, Julie asks Jean Finally, itating the bird. but there’s no other way “It’s awful, saying, Jean hands Julie a razor, what to do. were a servant, 1888). Julie leaves and the play ends (Strindberg out.” Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user on 13 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user on 13September 2021

48 Emily E. Wilcox atre, orchid position, thestandardhandpositionforfemalecharactersinindigenousChinese- place onthefloorwhereSkylark’scorpselies. Master! You mustbetired, Master!” on thefloor, andthenquicklystandsupagaintorushoffstage, abjectlycalling, “Welcome home, sufficiently togethisarmthroughthesleeve. Finally, hetiestherobearoundhiswaist, kneels He istremblingsostronglythattherobeshakesinair. Hecannotcontrolhis movements floor andtriesfranticallytoputitbackon. Thecoatisinsideout, andhishandsshakewildly. the sametime, heshowshisinnerresentmentofthosewhocontrolhim. his domineeringrelationshiptoJuliecringing, subservientrelationshiptoherfather. At scurries haphazardlyaboutthestage. Jeansaysnothing, buthismovementsconveyashiftfrom casts therobeontofloor. Hispreviousswaggeringpostureofcondescension deflates ashe “Master iscoming!” Christinerepeats, then, “Maids, guards, everyone, come, serveMaster!” cern. “Master iscoming?It’sbeforedawn,” Juliesays. “Is Masterreallycoming?” asksJean. out withfingersspreadandshakesthemintheair, ajingju ence, theirfacesfreezeinexaggerated, evencomical, looksofsurprise. Jeanholdsbothhands “Master iscoming!” JeanandJuliebothperceptiblyjumpwithshock, lookingrightattheaudi- pears fromthewingsandjoinsJuliebesidebird. Fromoffstage, Christinesuddenlycallsout, your deadbird!”), thesceneunfoldsasfollows:JulieisdownstageweepingwhenJeanreap- emotions Jeanlosescontroloverhisownactions. Followingthelastline, (“Gocryariverto Jean’s feardrivinghimto “do something” andJulie’sambivalence. As Julieindulgesinherown change ofcostume(fromvaletuniformtotravelclothes), oneseesthestarkcontrastbetween frantic bodilyresponsestotheimminenceofJulie’sfather’sappearance, aswelltoJean’s not lost. Indeed, itisinsomewaysmoremovingandtragicthejingju more violentthaninStrindberg’splay. However, thecomplexityofJean’sservantpsychologyis 21. 20. 19. 18. 17. unbuckles theneckclasponhercape, removesit, andplacesitcarefullyoverthebird’s body. to deepen, assheslowlydrawsouteachsyllableofthesong, untilhersongbecomesawail. She ing asmallpackage. Shecupsthiscasket-packetinher hand, pullingitclosetoherchest. bird’s tinybodyinhercape, Julieneatlyfoldsthecape asifwrappingitaroundthebird, creat- even longerthanbefore, hersongrisesinpitch, reaching anemotionalclimax. Scoopingupthe right sleeveacrossinfrontofherchesttheweepinggesture. As shestretchesthesyllables tries tostand, butherlegstremble. Herrighthand israised, andwithherleftshepullsthe bends andplacesthewrappedbirdonstagebehindchair, thentipsthechairbacktoforma motionless, axiquconvention. ing, insidemyheartisdrowning.” over herbird, liftsherheadslowlytowardtheaudience, andsings, “Outside thedayisdawn- Seemingly unabletomakeuphismind, Jeanpicksupthecoathehasjustthrownon Jean, whohasbeenwearinganelegantcoatoverhisclothes, suddenlyremovesthecoatand Traditionally, on an empty stage with xiqu only is a performed table and two chairs. This walking style is characteristic of refined female figures in xiqu and hyperextended. In this position, the thumb and middle fingers are pressed in, and the index and pinky fingers are delicately raised In open while they xiqu, sing singers but keep do their not mouths open partially them fully as in Western opera. around the eyes, and her eyes and eyebrows are lined dramatically in black. piled high on her head with two small pigtails hanging down under her ears. Her face is painted white with pink As a refined female character, Julie wears a head ornament covered in flowers and glittering beads, and hair is Turning totheaudience, Juliewalksinaslow, liltingstep “Skylark, oh, Skylark:yoursingsongdaysarecutshort, I’mleftbehindutterlybereft.” Julie Meanwhile, Julieforgettingaboutherfather, turnsherbejeweledheadandpaintedfacetothe 19 restsjustinfrontofthebodiceherdelicatelyembroideredgown. Julie’ssorrowappears 18 Hereyesareopenwide, andherhand, placeddelicatelyinthe As sheenunciateseachword, herlipsandteethremainalmost 17 A gongsounds. Sheisaloneonstage. Shekneels productions. gesture indicatinganxietyorcon- 20 towardachairupstage. production. InJean’s 21 She The Xiqu Body 49 - - turn, continues twisting and low- turn, The tempo of her singing slows. The of her singing slows. The tempo uses a codified and highly stylized per Her sleeves, drooped on the floor, form a circle drooped on the floor, Her sleeves, 23 or “snail” position, the backbend, and the fanshen spin are all choreographic elements com- elements choreographic all are spin fanshen the and backbend, the position, “snail” or woniu techniques allow actors to “define characters more sharply and render feelings more “define characters techniques allow actors to

Standing in front of the small grave, Julie begins to dance. She turns, swirling her long swirling her long She turns, to dance. Julie begins grave, in front of the small Standing 22

In xiqu objects frequently signify other things, and the actor’s movements can transform them instantly from one one from instantly them transform can movements actor’s the and things, other signify objects frequently xiqu In another. to thing her convey and precision and flexibility, balance, of skills professional actress’s the demonstrate They xiqu. to mon performance. her of intensity kinesthetic the to adding while character, refined How can you bear such melancholy? How can you bear such absurdity? How can you bear such is no light, Night’s over but there in her flight. I’m following Skylark Silence. Silence. a Chinese horn used in vil- sound of a suona, The high-pitched The lights gradually dim. sleeves over her head, and after repeating the previous line, sings, “Julie, oh, Julie: How can you Julie: oh, “Julie, sings, line, repeating the previous and after her head, sleeves over ” you bear such despair? How can bear such cowardice? gong sounds again, and she throws her sleeves horizontally to both sides in a familiar water- to both sides her sleeves horizontally and she throws again, gong sounds Julie suddenly gasps toward the audience, Staring blankly the floor. then drops to sleeve gesture, she with the sleeve, trembling and covered her right hand, Stretching deflates. and her body applause that usually erupts from Through the the front of the stage. reaches forward toward she sings her final lines: the audience at this point, A spotlight A bell sounds. audience. Julie fixes her eyes out toward the Her right hand shaking, and turns it, stands under Julie walks to the light, in front of the chair-grave. shines stage center, All is silent slowly upward. She raises her right hand into the light. her face to look upward Julie stops with her back in place, After circling once its chime. except for the bell repeating Her her face appears upside down to the spectators. to the audience and bends backward until eyes peer as her inverted left is bent over her chest, right arm is splayed out to the side and her Her body rotates in a slow-motion fanshen at the spectators. into a coiled seated position. spiraling, ers, 22. 23. This seated When describing the embodied culture of xiqu and the ways in which its distinctive perfor When describing the embodied culture of The Expressivity of Codes The Expressivity mance techniques contribute to the intercultural stage, Sun and Fei use the terms “extra- Sun and Fei use the terms stage, mance techniques contribute to the intercultural devices and which uses mimetic Unlike method acting, “super-expressivity.” or expressivity” xiqu naturalistic techniques to imitate real interactions, grave. around her. Her whole body is white in the glaring light, and she lowers her head to the floor, her head to the floor, and she lowers is white in the glaring light, Her whole body around her. looking upward. body twisted, Jean and Christine is heard in the distance. accompanied by gongs and drums, lage celebrations, They walk each wearing a red silk sash. stage, emerge solemnly from opposite sides of the and walk backward in opposite direc- to face each other, turn slowly side by side to Julie’s body, they the center, Each holding one end of a long red ribbon with a red flower knot tied at tions. Without forming a horizontal red line over Julie’s body. stretch the ribbon between them, like a pool of blood across landing they release the ribbon and it flutters to the floor, speaking, “The The words one another and the lights go out. Jean and Christine bow toward Julie’s body. flash on the screen. End” formance repertoire that although not imitative of life, they argue, is highly capable of express- they argue, formance repertoire that although not imitative of life, “Few words [are] ing the essence of real experiences and of producing dramatic effects. patterns of the thanks to stylized but the characters [are] rendered very expressively, necessary, In contrast to naturalistic techniques such as method (Fei and Sun 2006:129). character types” xiqu acting, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user on 13 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user on 13September 2021 Qun. Shanghai Theatre Academy, 10 of Zhao 2012. (Courtesy Qun) January 50 Emily E. Wilcox Bowen as Christine (Gui Sidi) in Figure 3. Qin Hao as Jean and (Xiang Qiang), Liu Lu as JulieYu (Zhuli), mouth withahandcoveringtherim. Christine inStrindberg’splayisalmostcompletelycut, replacedbyJulie’sariaanddance. xiaojie. Infact, thelongconversationinfinalscene betweenJulie, Jean, andtosomeextent play three charactersareextremelyclear. The switchingofrolesinthefinalsceneStrindberg’s but hadthenfallenintoservitude are complicated 26. 25. 24. style thatdominatedjingju While Julieisplayedbyafemaleactor, Christineisplayedbyamaleactorinthecross-dressing female, Jeanasaxiaosheng Strindberg’s charactersintoxiqu mastery ofthexiqu ers whoplayJulie, Jean, andChristineareallprofessionallytrainedjingju through stylizedusesofvoice, gaze, posture, costume, andgesture(Wichmann 1991:3). a rope-fringewand(Zung1937). Cryingneverproducesrealtearsbutinsteadconveyssadness in theair, indicatebeheadedvillainsusingballswrappedinredcloth, andridehorsesbywaving Whereas inStrindberg’sversionoftheplay, theclassdistinctionsbetweenJeanandJulie difference. of Beijing opera, see For a culturalGoldstein history (2007). Julie makes innovative contrast and experimentation with use role-typesof gender performance to express class female roles has taken place since the 1980s. The casting of a cross-dressing for Christinebut not for performer jingju tury, when famous male actors like Mei Lanfang became well known as men who played female roles. Although Jingju, which developed in Beijing in the mid-19th century, For an of overview Qi Rushan’s of aestheticism in Chinese drama, see Goldstein (2007:150–59). theory found useful but problematic for conceptualizing Chinese performance. The idea of super-expressivity emerged in dialogue with Eugenio Barba’s notion of “pre-expressivity,” which they In — Zhuli xiaojie, xiqu Julie asksJeantoactashermasterandordercommitsuicide has, sincethemid-20thcentury, by maleandfemaleactors,arevival beenperformed ofmale actorsplaying — Zhuli xiaojie Julie’s motherisnotanaristocratandJeanpossiblywasborn body allowsforarobustuseofcodifiedtechniquesintheirconversions performance techniquesareusedthroughout. Becausetheperform- or youngman, andChristineashuadan performance duringthelate19thandearly20thcenturies. (Miss Julie), directed by Zhao role types. Julieisperformedasaqingyi — in Zhulixiaojiethedifferencessocialstatusbetween 25 Inxiqu performances, charactersopendoorsbymiming was an all-male form through the early 20th cen- such asholdingacupnearone’s scribed setofsymbolicactions, he orshewouldcarryoutapre- imbibe liquidonstage. Instead, require theactortoactually for example, xiqu character todrinkacupoftea, tion. Ifaperformancecallsfor realistic meansofrepresenta- use ofaestheticized, ratherthan the definingfeatureofxiqu expert ofthe1920s, arguedthat Rushan, aleadingChinesedrama what makesxiqudistinctive. Qi standing aestheticdebatesabout stylistic techniquesechoeslong- Fei makebetweenmimeticand more heart-wrenching” (130). are “longer, moreelaborate, and strongly,” producingscenesthat The distinctionthatSunand or low-statusyoungfemale. or high-statusyoung actors, theirtechnical — is notinZhuli would never 26

is its 24 The Xiqu Body 51 The most aesthetic, Jean’s are more seri- aesthetic, repertory of body techniques that are accentuated by repertory of body techniques that are accentuated when work gives us time. We haven’t the whole day and night haven’t the whole day and night We when work gives us time. — 27

through the elaboration of qing. One of the most important techniques for this aspect of One of through the elaboration of qing. this contrast between two “kinds” of people is seen, heard, and felt through heard, people is seen, of “kinds” Zhuli xiaojie this contrast between two

For an outline and description of the major role types, including their use of singing, props, and movement, see see movement, and props, singing, of use their including types, role major the of description and outline an For (1991:7–12). Wichmann In addition to the visual and kinetic expressions of class distinction made possible with the In addition to the visual and kinetic expressions Some of the details of Strindberg’s dialogue are lost in the adaptation to xiqu. in the adaptation to dialogue are lost details of Strindberg’s Some of the for it as you.” Here we have the key to the psychology of the Julie type, of the utter help- type, the key to the psychology of the Julie Here we have for it as you.” The one is the result type. and to the brutality of Jean’s character lessness and weakness; purposeless existence; the other shows of a useless, of an empty life of parasitic leisure, of too much toil to for maturity and depth, the effects of too little time for development, ([1914] 2005:30–31) human soul. permit the growth of the finer traits in the In The contrast between Jean’s and Julie’s responses to their predicaments, and the relation- their predicaments, Julie’s responses to between Jean’s and The contrast it is not so ruins of her life, bird which Julie wants to rescue from the When Jean kills the was molded in the relent- as it is because the character of Jean much out of real cruelty, the determination to act in in which only those survive who have less school of necessity, that you I know I see that you are unhappy, “Miss Julie, For as Jean says, time of danger. kind there is no nonsense of this Among my cannot understand you. but I are suffering, play love as we We sort. use of codified role types, Julie and Jean’s different classed sensibilities are also explored in Zhuli Julie and Jean’s different classed types, use of codified role xiaojie the adaptation is the use of props. ous and sober, more like Julie’s. However, both Jean and Christine display acrobatic elements both Jean However, more like Julie’s. ous and sober, even when while Julie’s movements are graceful and demure, such as tumbling and high kicks, technically difficult. her sparkling head ornaments, finely embroidered gown, and graceful facial makeup. Jean and and graceful facial makeup. finely embroidered gown, her sparkling head ornaments, with- rough, and what they do sing is relatively lines, have fewer singing by contrast, Christine, Their clothing is less ornamented, tone and range. out the elongated syllables and extended Jean belongs to a role type that As in Strindberg’s play, with shorter sleeves and fewer layers. This ambivalence of Jean’s character can be is somewhere in between Julie’s and Christine’s. which at times makes him similar to Julie and at , seen in his physical behavior in Zhuli xiaojie sleeves he has the elongated puts on his work robe, When Jean others similar to Christine. sleeve exten- yet his and Christine’s everyday clothes lack that indicate wealth and refinement, and use of props are frequently comical and speech, Whereas Christine’s movements, sions. even for the stylized xiqu clown-like in their exaggeration, the different body language inherent to the different role types of Julie and Jean. Julie’s different role types of Julie and Jean. the different body language inherent to the and flow- melodious singing, curving backbone, delicate orchid hands, lilting steps, small, ing silk sleeves are all part of the qingyi obvious is how the feminist views of Julie’s mother impacted Julie’s upbringing. This is never This is impacted Julie’s upbringing. of Julie’s mother how the feminist views obvious is is in some ways critique of class division Strindberg’s Nevertheless, in Zhuli xiaojie. mentioned conveyed through xiqu two characters as contrast between the more moving by the made even the climactic final scene. responses in as well as their emotional role types, is of the two characters, and the very different social backgrounds ship between these responses wrote: Emma Goldman In 1914, play. a major theme of Strindberg’s 27. The Power of Props The Power as seen through their different emo- The contrast between Julie and Jean’s social backgrounds, cos- song, is especially clear in the ways they combine movement, tional responses to adversity, Here there are two immediate sources of adversity: Jean and props in the final scene. tumes, Julie’s response to In Strindberg’s play, killing Julie’s bird and Julie’s father returning home. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user on 13 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user on 13September 2021

52 Emily E. Wilcox mance. training, andsomearguethatitisthemostimportantof alldramaticactionsinxiqu Manipulation ofsleevesisarigoroustechniquecentraltoallxiqu allows foranexpressiveandmorefocaluseofcostume, inparticularsleeves, toconveyqing. in Strindberg’splay. this stagingallowstheaudiencetosympathizewithJulie’splightinawaythatisdifficultfeel Apart fromhighlightingJulie’ssocialconditionofhaving “an emptylifeofparasiticleisure,” focus onherpetwhileJeanisrunningbackandforthpreparingtogreetthereturnedmaster. action betweenJeanandJulieafterthebird’sdeath, thereisajarringcontrastbetweenJulie’s long, drawn-outweepingassheburiesthebird. While inZhulixiaojiethereislittledirectinter instead createtheconflictfirstthroughJean’sviolentkillingofbirdandthenJulie’s flict throughtheescalationofJulie’srage, fear, andself-doubt, asin Strindberg’s play, they cate, SunandFeichoosetoconvertangerintosadness. Ratherthanproducingaclimacticcon- scene ofZhulixiaojie, wheresheismorepatheticthanenraged. Here, Julie’scharactertakesonasavageandthreateningtonethatshedoesnothaveinthefinal verbal attackonJean: sion, whatGoldmancallsJulie’s “utter helplessnessandweakness” isexpressedthroughJulie’s her tonenevertakesonthesadsolemnitythatisportrayedinZhulixiaojie. InStrindberg’sver denced byJulie’sshrieking, staringatthechoppingblock, andincreasinglyaccusatorylanguage, shedding atearoverit. While thebird’sdeathclearlyproducesanemotionalresponse, asevi- the bird, attimesevenaddressingitbyname. InStrindberg, Juliestaresbrieflyatthebird, never In In Strindberg: the bird’sdeathissimilaratfirsttothatinZhulixiaojie, butsoonthetwoversionsdiverge. 28. more abstractthemesofhersocial demise, herhopelessness, andthelackoffulfillment inher sleeves, bothinconveying theimmediatesubjectofJulie’ssong(thebird’sdeath)and the full ofsadsentiment, theactorplayingJulieisabletofully usetheemotionallanguageof Because Julieisportrayedasaqingyi expression,” conveyingthecharacter’ssentimental innerworldandrelationtoothers: Zhuli xiaojie, Julie’sresponseturnsalmostimmediatelytogrief, withherattentionfocusedon Having thedramaoffinalsceneunfoldinsonganddanceratherthandialogue To accommodatetheaestheticstyleofqingyi, think Iloveyou! wash myfeetinyourchest!Icouldeatheartroasted! You thinkIamweak! You swimming inalake, liketheonethere. Ibelievecoulddrinkoutofyourskull! see yourbloodandbrainsonthechoppingblock. I’dliketoseeyourwholestock Do youthinkIcan’tlookatanyblood?I’msoweak?Oh!I’djustliketo which Isawyou!cursethehourinwasborn! hand shaking!Oh, Ihateandloatheyou! There isbloodbetweenus!Icursethehourin Julie. [Shrieking.]Killmetoo, killme!Ifyoucananinnocentanimalwithoutyour on stage[...](2007:183) her tofurtivelydeclareinnerthoughtsinanasideunbeknownst toothercharacters like acurtainbesideswoman’scheek, theycanconvey herflirtatiousmodestyorallow up tearsordrooptothefloorlikeaphysicalmanifestationof aninnerdespair;hanging [Sleeves] canswirlwithabandontoexpressjoy;theyserve ashandkerchiefstomop most important of all dramatic actions [in indigenous most Chinese important theatre]” (Zung [1937] 1964:77). “From the saying, ‘the longer the sleeves, the better the dance,’ we can easily see why sleeve movements are the 28 SleeveactionsformwhatJoshuaGoldsteincalls “a subtle languageofemotional and thesceneischangedtoprovidealongsoloaria which is refined, sentimental, anddeli- performers’ professional perfor - - - The Xiqu Body 53 - - a - — -

roles such expression. expression. style of xiqu 30 conveys crying, while elongated while conveys crying, fashion, she conveys the essence of she conveys the essence fashion, — is consistent with the xieyi is consistent tears in Wichmann (1991:3). (1991:3). Wichmann in tears Instead, in typical xiqu Instead, his legs and arms are widely splayed, and he stands squarely his legs and arms are widely splayed, 29 — like the deep backbend, during which she gazes upside down at the audience and during which she gazes upside down like the deep backbend, —

one that visually and kinetically conveys Jean’s conflicted identity through techniques of one that visually and kinetically conveys Jean’s , Jean’s work livery is replaced by a different but equally significant gar Zhuli xiaojie,

Through a series of super-expressive movements, Julie also conveys her emotional rumina- Julie also movements, Through a series of super-expressive See the discussion of the aesthetics of jingju of aesthetics the of discussion the See The significance of colors in the last scene, according to director Zhao Qun, has multiple possible interpretations. interpretations. possible multiple has Qun, Zhao to director according scene, last the in colors of significance The of indication an as scarfred interpreted be also may The China. in death of color traditional a is white However, struggleclass to 2012). (Zhao reference a as or marriage, Christine’s and Jean At the beginning of the scene, Jean appears wearing the high-status garment, and he displays Jean appears wearing the high-status garment, At the beginning of the scene, In as is Jean’s physical shift from dominance to servitude as he disrobes is viscerally jarring, One of the most ingenious adaptations in the final scene of Zhuli xiaojie is that of Jean’s liv- One of the most ingenious adaptations in The style in which Julie conveys qing which Julie conveys The style in conveys the total spiritual brokenness that consumes her and leads her to suicide. Although no leads her to suicide. brokenness that consumes her and conveys the total spiritual the ground under white light and death is suggested when she coils to Julie’s weapon is used, Christine drop over Julie’s body could The red silk scarf that Jean and the stillness that follows. of her spilled blood. be interpreted as an aestheticized expression hand held close to the face with the sleeve dangling down hand held close to the Julie’s emotions in an aestheti- overall they convey process of mourning, son might have in the cized way the emotions using codified sleeve actions and singing techniques. The “weeping sleeve” The techniques. actions and singing using codified sleeve the emotions tones. pronunciation imbue her songs with melancholy syllables and warbled falls on her forward onto the ground, bends bows, she physically deflates, tions kinesthetically: movements resemble reactions a per While some of these and trembles. stares blankly, knees, dominance over Julie by killing her bird, laughing at her, and insulting her. Throughout this Throughout this her. and insulting laughing at her, dominance over Julie by killing her bird, xiqu Jean’s movements draw from the movement repertory of commanding segment, expressive acting. ­expressive acting. super- vitude to her father. “You, who wear my livery, you menial, who wear my arms on your buttons,” who wear my arms on your buttons,” you menial, who wear my livery, “You, vitude to her father. the livery as a mate- refers to too, Jean, her bird. she yells during her diatribe after Jean murders “I believe if the says, he which I’ve got on my back,” “It’s the livery rial reminder of servitude. to cut my throat I’d do it on the spot.” Count were to come in now and order me appears wearing a sleeved gown that is obviously too Jean In the climactic final scene, ment. and is wear He has borrowed the gown from his master sophisticated for his servant status. represents his futile desire for upward mobility. ing it as a kind of make-believe; the gown prop in Zhuli the gown serves as a signifying lines, Though never referred to in the character’s xiaojie, as old men and military figures of power. he even stands on a chair to increase his appearance At one point, to the audience. and postures of higher status roles allows the gown and embodying the movements Wearing Jean executes a Just before killing the bird, the audience to see Jean as he wishes to see himself. and he sings about his ambi- series of powerful and impressive movements such as high leg lifts, As soon as Christine announces the return and independent. respected, tion to become wealthy, He suddenly evokes the posture of servi- Jean’s comportment changes. however, of the Father, the coat off. and this is the moment when he casts tude, His frantic attempts to put on the his struggle to re-robe before going out to greet his master. ery, or work coat. In Strindberg’s play, the livery serves as a significant metaphor for Jean’s con- the livery serves as a significant In Strindberg’s play, or work coat. ery, mobility while being caught in a situation that makes tradictory predicament: aspiring to social Julie refers to the livery as a symbol of Jean’s ser In Strindberg’s text, such mobility impossible. 29. 30. life. At the same time, Julie’s distracted sentimentalism serves as an effective contrast to Jean’s effective contrast serves as an distracted sentimentalism Julie’s the same time, At life. nervous practicality. She does not shed tears, snuffle, moan, or pound her fists on the floor as someone in the throes floor as someone in her fists on the or pound moan, snuffle, shed tears, She does not might in life. of similar emotions Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user on 13 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user on 13September 2021

54 Emily E. Wilcox movement, words, song, costume, andprops. ing forwhatxiqu polations arepossiblebecausetheworkhasbeenadaptedsuccessfullyforxiqu her despairoverSkylark’sdeath. NeitherofthesescenesisinStrindberg’sscript. These inter and Julieinthebedroomand, theonediscussedhere, thefinalsceneinwhichJulieexpresses Two ofthemostcompellingscenesarethoseinwhichChristineistormentedathearingJean adaptation ofMissJulie, thecharactersofChristineandJulietakeonmoreprominentroles. psychological complexityofclassenculturationisseenespeciallyclearlyinJean. Inthejingju ferent ways. a pitifulfigure, asdoesJulie, despitethefactthattwostoriesdevelopcharactersindif- through itsbodilydepictionofJean’sservantclassstatus. Inbothcases, Jeanultimatelybecomes Jean andJulie’srelationship, italsomakespossibleamorevividportrayaloftheirdifferences for her. Thus, whileSunandFei’schoiceintheiradaptationreducessomeofthecomplexity and Fei’sversionwhenhekillsherbird. InStrindberg’sversion, JulieasksJeantokillthebird sion, JeanneverachievesaclearlydominatingpositioninrelationtoJulie, ashedoesinSun and ultimaterecognitionthathecannotescapethetyrannyofsocialroles. InStrindberg’sver coat ashishandsshakeandbodytremblesconveyssuper-expressively Jean’sinnerturmoil In bothcasesthe meaningsarecreatedphysically ratherthanverbally. scene, is a reflectionononeofthebasic themesoftheplay of theirclassstatus. The result, likethatcreatedwithJean’srobingand disrobing inthefinal the verbalanalogyofhypnotist, JeanandJuliechangerolesexperimentwith inversions ribbon tocreateamemorablechoreographic imageofrolereversal, pursuit, and desire. As in position anditschangeability. veys informationaboutthecharacter’ssocialpositionandserves asatoolforreflectingonthis ively. Muchlikeanaccentorrhetoricalstyle, themovementstyleusedbyxiqu varies fromthisstyle, usesittoconveyparticularclassed orgenderedmeanings, orusesitreflex- gender andsocialpositiontocomprehendthemeaningof herbodilymovementswhenshe gender, andsocialposition. ByrenderingJulieasaqingyi, audiencesareabletorecognizeher a coherentaestheticsystemofcodedmovementsandstylized physicalities forreflectingonclass, cal relationshipsbetweenobjects, meanings, and people. The systemofcharactertypesprovides ical characterdevelopment, nuancedreflectionsonclass andgenderrelations, andmetaphori- techniques beingharnessedonmultiplelevelstoconveycomplex themes, includingpsycholog- abstract ideas. Examiningjustasinglesceneofonework, itispossibletoseebodilyperformance body asamediumofperformance. of xiqu?Morethanaquestionaboutxiqu, the oneJuliepaintsofhypnotistabove, conveyedthroughthehighlyphysicalperformance says ‘Sweep,’ andhesweeps.” atre andseenthehypnotist?Hesaystoonehypnotized, ‘Take thebroom’;hetakesit; Julie saystoJeanduringthefinalsceneinStrindberg’sscript. “Haveyoueverbeentothe- tions andthethemeofchangingroles. “Then justdoasthoughyouwerehe, andIwereyou,” makes extensiveuseoflanguagegamesinwhichthecharactersreflectontheirownclassposi- calls “the viciousbrutality, theboundlessinjusticeofrank” ([1914]2005:27). Strindberg’sscript ing.” hangs onbrief, abstractlines, suchas “Outside thedayisdawning/Insidemyheartdrown- final aria, thenarrativeweightofwhatinStrindberg’sdramaisalongandcomplexdialogue Limited dialogueinxiqumakesextendedverbaldevelopmentofthemesuncommon. InJulie’s The Body inPerformance Miss Julie isoftenreadasarealisttragedyonthethemeofclassantagonism, inwhichthe In anearlysceneinZhulixiaojie , JulieandJeanusetheprops ofalion’sheadandredsilk It isclearthatthebody, throughthetechnicalrepertory ofxiqu, How areabstractideas, suchastheimmutabilityofsocialclass, andcompleximages, suchas Miss Julie dealswiththethemeofimmutabilitysocialclass does best — the externalizationofqing,throughcarefulcoordination this isaquestionabouttheexpressivecapacityof — the immutability ofrankandclass. is capable of conveying iscapableofconveying — what EmmaGoldman performers con- body, allow- - - The Xiqu Body 55 - move- making. making. music. To To music. bodies in per Xin bi tian gao adaptation. The set- adaptation. , including including gao, tian bi Xin requires attending to physicality and Premiered in 2006, adaptations of Western dramas. Created in collab- Created dramas. Western adaptations of a post-performance discussion took place with Sun and the artthe and - post-performancea Sun with place took discussion performance demands a culturally embedded terminology, terminology, performance demands a culturally embedded Hedda Gabler is a remote village in rural China before the existence of the before the existence village in rural China is a remote Zhuli xiaojie, Zhuli Body in Body live in Hangzhou in a blackbox theatre as part of the January 2012 Shanghai Theatre Theatre Shanghai 2012 partas January the of theatre blackbox a in Hangzhou in live performance and its expressive potential requires spectators to shift fromexpressive potential requires spectators to performance and its , one needs to understand the coded gestures of xiqu body in Zhuli xiaojie,

31 Xin bi tian gao tian bi Xin

The book-burning scene is the emotional climax of Haida’s inner conflict. It is also the climax of Haida’s inner conflict. The book-burning scene is the emotional not only creates a spectacle but advances the narrative and generates meaning.not only creates a spectacle 32 Hedda Gabler, called in of Henrik Ibsen’s Hedda Gabler, are also significant in Sun and Fei’s adaptation

Hangzhou is located about two hours from Shanghai, and it is part of the regional and cultural sphere of of sphere cultural and partis it and regional the of Shanghai, from hours two about located is Hangzhou opera, Yue Shanghai of study historical a For form. all-female traditionally a opera, Yue Shanghai/Zhejiang-style (2009). Jiang see saw first I Academy Winter Institute (Hangzhou Yue Opera Company 2012). My descriptions here are based on a video video a on based are here descriptions My 2012). Company Opera Yue (Hangzhou Institute Winter Academy with As version. staged fully the of ists after the show, for which I served as the interpreter. For a website with details on details with website a For servedI which for interpreter. the as show, the after ists 2008). (He website China in Ibsen the see ­photos, Appreciating xiqu preserved in the xiqu of Strindberg’s text are not all the details Of course, Attendance to choreography in intercultural performance is particularly difficult because Attendance to choreography in intercultural Toward the end of the play, Haida (Hedda) burns Wenbo’s (Lovborg’s) unpublished manu- Wenbo’s Haida (Hedda) burns the end of the play, Toward aurality not merely as spectacle but as modes of signification and psychological exploration. aurality not merely as spectacle but as modes ment as well as the subtleties of role type, prop significance, and the qualities of xiqu prop significance, ment as well as the subtleties of role type, describe effectively the body in xiqu it Most important, in the language of the foreigner. often using words that have no equivalent senses that have been trained and tuned so that one can and kinesthetic aural, requires visual, understand- Finally, the impact of the performance as it unfolds. and comprehend feel, hear, see, in xiqu ing and feeling the impact of embodied expression for example, , ting of Zhuli xiaojie , it is Julie who entices Jean into the bedroom, whereas in whereas the bedroom, who entices Jean into it is Julie , In Zhuli xiaojie People’s Republic. quarters enters the servants’ festival crowd that The way around. play it is the other Strindberg’s Fei version with a solo in the Sun and script is replaced a commotion in Strindberg’s and creates sexually inflected Christine uses or singing, musical accompaniment Without dance by Christine. This Julie and Jean’s lovemaking. the excitement and inappropriateness of movements to convey the physicality Here, conveyed completely through bodily performance. scene is a turning point of xiqu focusing on language to focusing on the body as the medium of expression and meaning-­ to focusing on the body as the medium of focusing on language with the body in performance is the problem Foster has pointed out, As dance scholar Susan and that these meanings rather, but, meaning or generate impact, not that it does not produce to ori- movement practices” “structured She defines choreography as impacts are ignored. body in performance (1998:10). to the significance and impact of the ent performance scholars practices of ­ the ways in which the structured movement Choreography includes to choreography means attending Paying attention larger social contexts. formance exist within the ways they are molded and shaped in social interactions, to the way bodies cite one another, and the affective impact they have on spectators. attend choreographi- To in several cultural systems. it requires knowledge of choreographies cally to the xiqu scene in which the audience realizes, through an intensely dramatic solo dance-aria, the depth an intensely dramatic solo dance-aria, through scene in which the audience realizes, of Haida’s desperation and jealousy. was the first of Sun and Fei’s series of xiqu has an entirely Xin bi tian gao of Hangzhou, Opera Company Yue oration with the Hangzhou female cast. Adapting for the Xiqu Rewriting Ibsen Rewriting as well as the focus on and music, movement, costume, use of props, The super-expressive qing Aspiration Sky High). (Hedda or Mandarin Xin bi tian gao 31. 32. script. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user on 13 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user on 13September 2021

56 Emily E. Wilcox across herleftwrist. Tears fillher eyes. the manuscriptinherlefthand, shedropsherrightsleeve overherarmandpullsitcaressingly As shespeaks, hervoicewavers, andshepullsthe manuscriptoutfromhersleeve. Staringat ward, saying, toherself: “It’s Xiyaandhis future, notmine. It’sXiyaandhisfame, notmine.” turns slowlyandfacestheaudienceagain, ablankstare frozenonherface. Shestepsslowlyback- 33. Jun, Hangzhou Yue Opera Company) Hangzhou Grand Theatre, 15 of 2012. (Courtesy HouJanuary Sun and Faye Chunfang Fei, directed by Zhi Tao and Zhan Min. tian gao (Hedda or Aspiration Sky High) by William Huizhu Figure 4. Haida (Zhou Yujun) and Wenbo (Xu Ming) in hand atherheart, Haida sings: not speaking. Then, thewhineofaloneerhu (two-stringedChinesefiddle)sounds. Holdingher she pauses, standsstillandfacestheaudienceasorchestra goessilent. Shestaresforward, sleeve intotheair. She runsinacirclearoundthestage, themusicseemingtochaseher. At last, strumming ofthepipa(Chineseguitar)andzitherharp), Haidatossesherlongredsilk with increasingintensityandrisingpitch. Suddenly, astheonstageorchestrasoundsafrantic Mandarin Chinese with English subtitles (Sun and Fei 2012b). All quotes from “Not mine, notmine, notmine!” Haidarepeats asshestaresatthemanuscript, eachtime Xin bi tian gao are from Sun and Fei (2012a). As in Xin bi Zhuli xiaojie, pausing forafewseconds, Haida hand outinhisdirection. After at thedoorwayandreachesher Wenbo’s departure, thenstops and runsinthedirectionof sleeve ofhergown. Sheturns hand tocoverherfacewiththe brows furrow, andsheliftsher down. Herlipsquiver, hereye- ture, Haida’sexpressionbreaks moment after Wenbo’s depar antly attheaudience. Butthe away fromhimandlooksdefi- Wenbo isleaving, Haidaturns have noeyes. Take care.” While the crypticmessage, “Swords each jian) pair of “lover’s swords” (yuanyang sion, gives Wenbo oneofthe Haida, upsetby Wenbo’s admis- manuscript conversation aboutthe “lost” no manuscript. Duringtheir away withaswordinhand, but script, andHaidasendshim looking forhislostmanu- Wenbo has justcometoHaida “child” (FeiandSun2012a). and Xiya’s “heart andsoul” and ing thatthemanuscriptishis commitment toXiya(Thea), say- red gown tucked inthesleeveofHaida’s The scenebeginsafter — — the performance is sung in the performance of whichtheyhadone and sendshimoffwith — — Wenbo admits his which infactis 33 -

The Xiqu Body 57 sleeve action. In this move, both sleeves are caught at the midpoint, so that half so that are caught at the midpoint, both sleeves In this move, sleeve action.

Such remorse! Such hatred! Such remorse! be mine. used to Wenbo did entwine. Our hearts as he would not reform, Anxious, I wish him any harm. never would [...] heart-broken I am completely and Haida again stands facing the the music stops, into her hand, Haida gathers her sleeve the ceiling. toward palms up, Haida lifts both hands, The entire manuscript now in flames, sleeve Haida executes a series of fast and difficult As the chorus sings and the orchestra plays, Why is it not my child? Why does it hurt me? Why should it block my husband’s way? Why should it break my heart? He-e-e-e-e eaveeens! Oh-h-h-h, Her sadness turns to jealousy: “Why am I not the one that you love? Why can’t I share your you love? “Why am I not the one that jealousy: Her sadness turns to as if in Haida’s head, offstage, voice is audible from Wenbo’s Suddenly moment in the sun?” fruit of to our commitment, Witness It’s our child. and my heart and soul. “It is Xiya’s echoing, her eyes moving from and forth, Haida shakes her head back this, As she hears our affection.” and the orchestra plays again, weep, she begins to her sleeve to her cheek, Raising side to side. through the air. Haida spins in place and her sleeve flies strumming loudly. A look of des- “Where is mine?” screaming, almost Then, she says. about me?” “What audience. becoming more audible. her breathing she says, Fruit? Child?” “Witness? peration fills her eyes. well in her eyes, Tears laugh. in both hands and lets out a biting Haida clutches the manuscript skitters across the She she says. finished!” “All head. but she cuts them off with a shake of her lets out a high- Haida pauses as the pipa in a circle. stage and sweeps her sleeve through the air her wrist and She repeatedly coils the right sleeve of her gown around pitched fast strumming. grabs one side with each hand and holds She opens the manuscript, then throws it out again. tearing the manuscript in she falls onto the stage on both knees, Suddenly, it up over her head. Page by page, creating the impression of flames before her. Haida stares down into a light, two. Haida lets all the while staring into it. manuscript into the imaginary fire, Wenbo’s Haida drops paper and the slow The only sounds audible are the tearing of then is silent. out another laugh, but building beat of a drum. The drumbeat quick- and prepares to dance. lets out both sleeves, She slowly rises to her feet, and fly out around her forming a circle as she turns, Her sleeves and Haida spins in place. ens, almost and the tune is fast and light, The full orchestra is now playing, she laughs again loudly. papers fly / jump, “Flames An offstage chorus of high-pitched female voices sings, celebratory. as black paper her sleeves back and forth in the air, Haida tosses jealous butterflies fill the sky.” the chorus the soul,” burn “Burn the heart, from above. rain down like charred ashes, words, “Up to Heaven they all go.” sings, one of the most technically difficult move- ending with the two-handed pianhua, movements, ments in xiqu the performer spins the half sleeves Using one’s wrists, of the sleeve hangs down from the hand. Haida contin- either side of the performer’s body. until they form flat squares in the air on all the while increasing speed and keeping pace ues spinning her sleeves for a full 30 seconds, she throws her sleeves out and When the spinning cannot get any faster, with the beating drum. cym- accompanied by loud sounds of gongs, begins a pattern of breathtaking full sleeve tosses, she sings: Then, She finishes with alternating sleeve catches. and wooden clappers. drums, bals, Haida continues singing and dancing until her The syllables are elongated to convey emotion. and the conniving Master Bai (JudgeThey tell Haida Brack) enter. husband Simeng (Tesman) Xiya tells Simeng with the sword she just gave him. “accidently” has killed himself Wenbo that Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user on 13 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user on 13September 2021 58 (Courtesy of Hou(Courtesy Jun, Hangzhou Yue Opera Company) directed by Zhi Tao and Zhan Min. Hangzhou Grand Theatre, 15 2012. January (Hedda orAspiration Sky High) by William Huizhu Sun and Faye ChunfangFei, Emily E. Wilcox Figure 5. Haida (Zhou Yujun) and the Judge (Shi Huilan) in voices insongtoexpresstheir emotional connection. The expressivequalityof thexiqu duichang (对唱, tume, andprops. In boththeintroductorydreamsequenceandwhenHaida Wenbo reunite, Haida, whousesmanyxiqu and FeichangeIbsentoconform toxiqu your career.” Finally, sheaccepts thesword, butonlybecausecircumstancesforcehertodoso. that shebecomesvindictiveandcold: “I swearbythissword, I’llseeyoufailinloveand be buried,” Wenbo replies. Itisonlywhen Haidarealizesthat Wenbo isrejectingherforXiya You saidifyoureturneditwoulddie.” “The feelingsarehardto forget, /Butthepasthasto romantic bonds. Haidaatfirstrefusestotakethesword, stating, “Icannottakethesword[...] and Wenbo arereunited, Wenbo triestoreturnhissword Haida, asymbolicbreakingoftheir ing oneofamatchedpairswords. The sceneis showntobeHaida’sfantasy. When Haida not presentinIbsen’splay, showsHaidaand Wenbo inloveanddancingtogether, eachhold- intimacy thatonceexistedbetweenherand Wenbo. An openingdreamsequenceintheopera, have beenmotivatedbylove. ing thenighttheypartedlongago, andHeddathreatenedtoshoothim;admitsshemay are. The closestHeddacomestoexpressingaffectiontowardLovborgiswhentheyarerecount- their past romance and Hedda who responds with a cold, detached resignation to the waythings with her. Throughout theirconversations, itisLovborgwhorepeatedly seeksconfirmationof familiar ratherthanmarriedname, showingthathewishestomaintainanintimateconnection pleadingly, “Oh, Hedda, Hedda sentimental ofthetwo. Forexample, whenhefindsoutthatHeddaismarried, Lovborgasks romantic connectionwith Wenbo. ties ofherhusbandandlover. Also unlikeHedda, Haidadisplaysastrong desiretomaintainher ity tofulfillherowndesires. UnlikeIbsen’sHedda, Haidashowsinterestinthescholarlyactivi- is aneducatedandambitiouswomanfrustratedbythelossof Wenbo’s loveandbyherinabil- istic Bloomcalls “quintessential bourgeois” (Bloom1999:15). SunandFei’sHaida, bycontrast, life. Shekillsherselfnotoutofabrokenheartbutratherbecauseshefearsscandal, acharacter By introducingthe “lovers’ swords” andreversingtherolesofLovborgHedda, Sun In The interactionsbetweenHeddaandLovborginIbsen’sscriptshowasthemore Xin bitiangao, however, Haida isthenostalgic, sentimentalonewhotriestomaintainthe duet singing)isused performance techniques, includingsinging, dancing, music, cos- — how couldyouthrowyourselfaway!” Heinsistsonusingher — a qing expression byallowingagreater emotionalrangefor Xin bi tian gao technique wheretwocharacters interweavetheir

less existenceandnodirectionin as a “trollish” figure with an aim- Bloom describesIbsen’sHedda significantly altered. Harold tionship toLovborghavebeen ization ofHeddaandherrela- Fei’s version, thecharacter play willnotethatinSunand lover’s sword. Haida’s suicideusingtheother with dancing —ends sleeve ing, music, andsword a dramaticsequenceofsing- rejects him. The finalscene and blackmailHaida, butshe Master Baiattemptstoseduce go offtogethertoreconstructit. Wenbo’s manuscript andthey that shestillhasthenotesfrom Anyone familiarwithIbsen’s orches- - —

- The Xiqu Body 59

34 to contain her — form,” explained Sun in form,” sleeve actions conveys intensify- sleeve actions conveys 2009), adapted from Shakespeare’s 2009), stage. Alan Ying-Nan Lin, writing on Lin, Ying-Nan Alan stage. ultimately unsuccessful , Bond; , — repertoire; we chose Hedda Gabler because it weakens the characterization and depth of the weakens the characterization and depth of expression of qing. Moreover, it stretches the capacities of xiqu Moreover, expression of qing. into a love story with a charismatic female protagonist helps cre- Hedda Gabler into a love story with a charismatic female takes up the question of class, suppressing the themes of gender that are Zhuli xiaojie takes up the question of class,

adaptations of Western dramas have often been criticized for what they purportedly lose dramas have often been criticized for what they purportedly Western adaptations of

Bourgeois malaise would be a valid topic of critique in Chinese performanceChinese in adap- critique this of when 2010s topic the during valid a be would Bourgeois malaise has it PRC, the of decades early in China in culture on bourgeois attacks persistent Despite created. was tation contemporaryin theme common a becoming 1990s, late the since - liter Chinese growth explosive an experienced (2013). performingand Hui arts. ature See As a result of the large amount of cutting and simplification, the original script’s mutually As a result of the large amount of cutting and simplification, resonating plotlines and complex multifaceted characters underwent an editorial process out- guided mainly by erasure; not only was the plot of the original reduced to its broad (2011:88) also was impacted. but the development of every character line, Swords and sleeves serve not only as spectacle but also as expressive and symbolically sig- as expressive and as spectacle but also sleeves serve not only Swords and second decade of the impact of A Doll’s House in China during the Since the tremendous Turning Turning , argues that Bond , Venice of The Merchant original script: and appreciation of the original to evaluate the Lin applies his knowledge Like many critics, Jewish With a Shylock that is no longer lacking. and as a result finds the adaptation adaptation, Lin is relationships, and a plot that no longer repeats itself with multiple father-daughter the Taiwan Bangzi Company’s work Yue/shu (約/束 Taiwan the The Content of Spectacle Xiqu to fit the xiqu in the process of transforming the original 34. nificant elements of character. When Simeng catches Haida dancing with her lover’s sword, he he lover’s sword, Haida dancing with her Simeng catches When of character. nificant elements responds assertively, to which Haida not appropriate for women, sword dancing is tells her that express back his sword and tries to give Haida Wenbo When a lady wield a sword?” “Why can’t expressing her inner with the sword, Haida mimes an action of suicide his commitment to Xiya, and Haida create Wenbo sequence at the start of the performance, During the dream pain. they are in harmony with one conveying that lines with their swords, symmetrical shapes and nostal- sleeve pulled over Haida’s wrist expresses the During the book-burning scene, another. the air visualizes the conflict and while the sleeve flung and swirled through gia and tenderness, wrist and repeatedly thrown out When the sleeve is wrapped around Haida’s rage in her heart. it expresses Haida’s attempts and then pulled back, the high-speed twirling of Haida’s pianhua Finally, sentiments. to a level of self-destruction. ultimately ing anxiety, espe- to reflect on social problems, has been a tool for Chinese intellectuals Ibsen 20th century, it is in keeping with a long For this reason, 2010). cially that of gender inequality (see Chen Sun and Fei interpret Hedda Gabler as a play about history of Chinese Ibsen adaptations that rather than a critique of bourgeois malaise. the tragic demise of a strong female character, - pipa indicates intro the is mournful, is used when Haida the erhu sound tra is also engaged: and excitement. anger, cymbals convey confusion, and the drums and spection, Whereas “Characters like and rage. independent ambition, by introducing a heroine with education, xiqu Haida don’t appear commonly in traditional to explore with the xiqu allows for a different type of female character in Hangzhou. a 2012 performance of Xin bi tian gao the question and answer session following they allow us to take on new themes and stories while “This is what we love about adaptations; (Sun 2012). performance” also exposing more audiences to Chinese downplays the theme of class to emphasize gender. gender. downplays the theme of class to emphasize Xin bi tian gao in the original, ate more opportunities for xiqu Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user on 13 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user on 13September 2021

60 Emily E. Wilcox Nevertheless, Diamond stops shortofofferingacloseanalysisthecontributionsxiqu laments thelackoftraditional silkwatersleevesin Wei Haimin’shand-washingscene(126). work, andattimessheeven evaluatesitsqualityintermsofjingju style movement” (127). Diamondhelpsthereader toidentifyelementsofxiqutechniqueinthe offers “an appropriatemetaphorfortheplay’sunderlying theme,” yet “had noBeijingopera formed withprecisionandaplomb” (126). A dancesceneperformedbyafemalewithmask she statesonlythattheyare “imaginatively choreographed andsuperblyexecuted[...,]per in thebeginningsceneanditneverlagged” (125). When discussingthework’sacrobaticscenes, editing, however, wasrevealedinthepacingofperformance. A momentumwasestablished Diamond’s analysis, andtheylackfullelaboration. Shewrites, “One positiveresultofthetext’s sive andsignifying capacitiesofthexiqubody to formmovingscenesofemotional andpsy- mance techniquemakestothe production asawhole. Kingdom ofDesire ofwhatismostcompellingaboutMacbeth’scharacter(125). truth, hebecomesaplaythingoffate” (124). This dependenceonfate, Diamondargues, robs [Macbeth’s] personalityandthediminishedinterplaybetween guilt, ambition, fear, illusion, and cess tocreateKingdomofDesire thanwhatisgained. “With the simplification of AoshuZheng’s performance, of Asian and analyzedwhattheywerewatching” (1994:129). create theemotionalsubtexttoarias[...]Unablegetemotionallyinvolved, theysatback critics,” Diamondwrites, “did notunderstandhowthemusicandgesturesworkedtogether to of criticswhotrytoevaluatetheworkwithoutadeepunderstandingxiqu ing theinfluencesofJapanesefilmandnoh Asian theatreforms. ShecontextualizesKingdomofDesire inadistinctly Asian textualrealm, cit- changes totheoriginalscript, butsheexplainsthesechangesintermsofthedifferentneeds greater attempttoengagexiqu 1990), ajingjuadaptationofMacbethby Taiwan’s ContemporaryLegend Theatre, offersafar what heseesasamuchsuperiororiginal. that hard-pressed tofindwhathelikesaboutTheMerchant of Venice in ized representation” (124). ways toexpresstrueemotionwhenalltheirinstinctshadbeencurbedproduceahighlystyl- technique: “[Wu] founditdifficultworkingwithclassicallytrainedactorsandhelpingthemfind tor andleadactor Wu Xingguo, Diamondindirectlyquestions theexpressivecapacityofxiqu formance mightpossiblyaddtotheexperienceofaShakespearianplay. Instead, invokingdirec- of itscontributionstotheoverallwork, nordoessheofferinsightsintowhatthismodeofper Though acknowledgingthexiqu music toconveycomplexemotionsandcharacterization, Diamondwrites: her analysis. Describingtwosequencesthatclearlyusecombinationsofmovement, props, and The waysinwhichmovement, song, costume, andpropscometogether through theexpres- Acknowledgement ofthepossiblebenefitsxiqu Even Diamond, however, failstofullyarticulatethesignifyingcapabilityofxiqu Catherine Diamond, inheranalysisofYuwang Chengguo(欲望城国, KingdomofDesire; Ultimately, thoughofferingmuchmoreinthewayofcontextualization and herhusbandhavekilled. (1994:121–22) Dressed inawhitegown, sheflitsaboutthestagebedeviledbyghostsofthose Aoshu Zhengsingsalongariainherhandwashingscene, expressingherfearanddespair. it incirclesacrossthestagetoshowhisgriefandresolution[...] Wei HaiminasLady mime behindablackscrimcurtain. The sonunravelshislongswatchofhairandswings and outliningaplanforhisrevenge, whiletheassassinandhisfatherreenactfightin In KingdomofDesire , theorphanedsonsingsalongariabemoaningdeathofhisfather Bond is notanadaptationbut “appropriation,” andheseekstodistancetheworkfrom Diamond, likeLin, focusesmoreonwhatislostintheadaptationpro- aesthetics andprinciples. LikeLin, Diamondpointsoutcutsand body inherdescriptions, Diamonddoesnotofferanyanalysis theatre. Furthermore, shepointsoutthelimitations form appearasanafterthoughtin Bond. aesthetics, suchaswhen she Ultimately, heargues aesthetics: “English aesthetics body in perfor - - - The Xiqu Body 61 - tech- aesthet- adap- into technique. technique. perfor Adapting for Adapting for began in 2010. began in 2010. styles became adaptations. Just as nat- adaptations. movements and postures including the movement pat- — (Swing; 2002). (Swing; performance technique adds to, rather than technique adds to, performance productions using hybrid performance styles movement aesthetics as a new mode of artistic movement aesthetics body through intercultural theatre is part of a national body through intercultural theatre is part Qiuqian qingren qingren Qiuqian including the model operas and ballets of the Cultural — performance technique. Apart from the series of xiqu Apart from the performance technique. are in many ways reminiscent of experiments Xin bi tian gao body so highly, Sun and Fei select and adapt foreign texts with that Sun and Fei select and body so highly, Huang was known for his distinctive approach to intercultural Chinese his distinctive approach to intercultural Huang was known for 35 adaptations of Western classics created by Sun and Fei represent, for classics created by Sun and Fei represent, Western adaptations of the morning “broadcast exercises” “broadcast exercises” the morning that he suggests replacing guangbo ticao, (China Dream), directed by Huang Zuolin directed (China Dream), the spoken drama Zhongguo meng — as its primary performance style, the project’s goal is to promote understanding and the project’s goal is to promote understanding as its primary performance style,

audience. audience. and martial arts: China’s Ministry of Education passed a law in 2008 to begin introducing xiqu China’s Ministry of Education passed a law

The series of xiqu See here also a discussion of their later work work later their of discussion a also here See Since the early 2000s, Sun and Fei and have made a concerted effort to create intercultural Sun and Fei and have made a concerted Since the early 2000s, Sun and Fei’s promotion of the xiqu Works like Zhuli xiaojie and Works If [broadcast exercises] were re-choreographed as a performing art, not merely a physi- not merely a as a performing art, If [broadcast exercises] were re-choreographed but also carry cultural it would not only be more appealing to the dancers, cal exercise, This artistic work would and community lives. meaning that would enrich their spiritual could be but instead mechanical body exercise, unicultural, no longer be a unisexual, opera made to relate to the composite style of Chinese terns of Beijing opera and many other local operas, as well as some martial arts. (2009:10) as well as some martial arts. operas, terns of Beijing opera and many other local them, a conscious decision to explore xiqu a conscious them, their first piece of intercul- Sun and Fei produced In 1987, outreach. expression and cultural tural theatre (see Conceison 2004). 35. development in xiqu of character the complexity diminishes, necessarily too is xiqu. so and characters, types of stories is suited to particular uralistic drama while these changes, spoken drama script; the original is a entails changes when the xiqu body for can also be gains of naturalist drama, from the perspective interpreted as losses sometimes the xiqu ways in which xiqu demonstrate depth, chological derived elements, the actors’ techniques were primarily some xiqu-derived elements, but despite introducing ics, drama. those of realistic spoken theatre using a full range of xiqu performance, which blends the techniques of Stanislavsky, Brecht, and Mei Lanfang to create a and Mei Lanfang to create Brecht, blends the techniques of Stanislavsky, which performance, xiqu was inspired by nonrealist The stage setting for China Dream new theatrical style. tations of Western dramas, two of which I have discussed here, Sun has also been one of the Sun has also been I have discussed here, two of which dramas, Western tations of which project Confucius’s Disciples, leading figures in the intercultural theatre Using xiqu appreciation of Chinese culture through the study and performance of xiqu. the study and performance of xiqu. appreciation of Chinese culture through that have taken place more or less continually in China since the early 20th century. When that have taken place more or less continually in China since the early 20th century. they xinju “reformed new dramas,” late drama reformers during the 1910s promoted gailiang of xiqu. argued that new content could be effectively performed using the performance styles xiqu Throughout the Maoist period (1949–1976), Interpreting these adapted works thus requires appreciation for the importance of xiqu Interpreting these adapted works thus requires appreciation for the importance of for expressing theatrical content. as well as a tool nique as an end in itself, were created and widely performed works in traditional xiqu Western productions of After the 1980s, Revolution. increasingly common. body in mind, and they revise them in ways that facilitate the full expression of xiqu and they revise them in body in mind, Since they value the xiqu intervention into state-sponsored efforts to promote Chinese culture through xiqu intervention into state-sponsored efforts mance. schools as a way of teaching Chinese children their own cultural heritage (Sun 2009). Whereas their own cultural heritage (Sun 2009). schools as a way of teaching Chinese children Sun argues that training in xiqu the initial project focused on songs, movement Sun is so convinced of the cultural value of learning the would be a better choice. techniques of xiqu exercise based with a more artistic since the 1950s, that Chinese school children have practiced on xiqu Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user on 13 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00327 by College of William and Mary user on 13September 2021

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