APPENDIX 1

Chronology of Plays Discussed in the Book tume design) tume Stage Designer/Scenographer Xue Dianjie and Wang Hanyi Li Guoxiu Zhang Yicheng Lin Zhaohua Huang Qingze Director Director Chen XinyiLi Guoxiu Huang Haiwei Nie Guangyan Fredric Mao Yingfung Ho Fredric Mao Yingfung Ho Jin Shijie Xu Rongchang (prop/cos- Lin Zhaohua Yi Liming Lin ZhaohuaLin Liming Yi Hu Zongqi Huang Haiwei Huiyuan Samuel Beckett Samuel Playwright Yao Yuan Yao He Jiping Tian Qinxin (adapter) Tian Qinxin He Jiping Meng Bing Centre Theatre Theatre Theatre the Political Department of the PLA Beijing Art People’s Theatre Gao Xingjian, Liu Ping-Fong Acting Troupe Li Guoxiu Company Shanghai Dramatic Arts Ping-Fong Acting Troupe Li Guoxiu Lin Zhaohua Theatre Studio Theatre Zhaohua Lin Shakespeare William Zhaohua Lin Haiwei Huang Lin Zhaohua Theatre Studio Anton Chekhov/ Hong Kong Repertory Studio Theatre Zhaohua Lin Ibsen Henrik

III—Oh! Three Diverged Paths Revelation Godot Hezhu’s New Match Signal Absolute Lan-ling Theatre WorkshopCan Three Make Part It? Jin Shijie Yang Shang Title Peking Opera: The Richard III Richard Are OneWe Family Hong Kong Repertory Three SistersExperimental & Waiting for Field of Life and Death Central Sweet & Sour Hong Kong The Ballad of Yellow Earth Drama Troupe attached to The Master Builder The Master re re è 1980 1982 1993 1996 1996 Premi Premi 20012001 1998 1999 2003 2005 2006

242 design and multimedia) with contributions by Shen Shaomin, Jiang Zhi, Jiang Jie, Oliver Lyons Sun Dong Zhao Chuan Zhao Xue Dianjie and Wang Hanyi Wu Zhang Liao Shifu Liao Xiaodong Wang Molin, Hiroshi Ohashi and Sze Tong Hong Xiaodong/ Jiang Tao and Mu Du Zhao ChuanZhao Chuan Zhao Zhao ChuanZhao Chuan Zhao Gong Zhao Chuan, Chuan, Zhao Meng Jinghui Feng Jiangzhou (visual Tian Qinxin Wang Shaojun Gong Hou Qinghui, Yu Kai, Wu Meng and others Zhao Chuan Zhao Company members Liao Yimei (drama- cast turgy); Ying Shaojun Wang Xiang and Wang Zhao Chuan, Feng Zi, Li Ang, adapted by Bing Meng Wang Hong Li Xiao Ning CaishenNing Adaptation by Nian He Qi Sang Xi Chuan (poems); (poems); Xi Chuan Meng Bing the Political Department of the PLA Centre Studio (Taiwan), Da-M andTheatre Clash (Tokyo) Theatre (Hong Kong) Meng Jinghui Studio Drama Theatre Grass Stage Grass Stage Drama Troupe attached to Shanghai Dramatic Arts National Theatre of China/ National Theatre of China Tian Qinxin and An Penghao Theatre Tianjin Art People’s Theatre Cao Yu Wang Yansong Liu Kedong

Grass Stage, Body Phase

Drum Lane Drum the Cauldron the on the Water The Little Society The Story of Gong and Squat Life of Archives The Savage Land The Story of the Deer and Lu Xun 2008 Flowers in the Mirror, Moon Searching for Li Dazhao Hebei Provincial Spoken The Yellow Storm 2009 2009 2008 2009 20062008 2008 2006 2011 2010

243 APPENDIX 2

Glossary of Names, Titles, and Specific Expressions in the Main Text

English/Romanization used pinyin ∝ᄫˋ⓶ᄫa in the text

Absolute Signal Juedui xinhao 㒱ᇍֵো Alley/ hutong hutong 㚵ৠ A Chinese Grammatical Guanyu “Bi’an” de yihui ݇ѢljᕐኌNJⱘϔಲ∝䇁 Discussion of “The Other Hanyu cixing taolun 䆡ᗻ䅼䆎 Shore” a son paying back his fuzhai zihuan ⠊؎ᄤ䖬 father’s debt amateur dramaaimeiju ⠅㕢࠻ Amber Hupo ⧹⦔ An Ying ᅝ㦍 approval systembaopi zhi ᡹ᡍࠊ Archival Museum of the Zhongguo Renmin Ё೑Ҏ⇥㾷ᬒݯḷḜ佚 PLA Jiefangjun Dang’an Guan archive or personal record dang’an ḷḜ Archives of Life Shengming dang’an ⫳ੑḷḜ Army for Revolution Gemingjun 䴽ੑݯ Arts Ensemble of the Chinese Wujing Wengongtuan ℺䄺᭛Ꮉಶ People’s Armed Forces Association of Dramatists, Zhongguo Xijujia Xiehui/ Ё೑៣࠻ᆊणӮ࣫Ҁ᭛ National/under the Beijing Beijing Wenlian Xijujia 㘨៣࠻ᆊणӮ Federation of Literary and Xiehui Art Circles Aurora Borealis, The Beiji zhi guang ࣫ὉПܝ avant-gardexianfeng ܜ䫟 avant-garde theatre xianfeng xiju ܜ䫟៣࠻ Ballad of Yellow Earth, The Huangtu yao 咘ೳ䇷 Bei Dao ࣫ቯ Beibingmasi Hutong ࣫݉偀ৌ㚵ৠ Beijing’s first popular, Beijing diyi jia minjian ࣫Ҁ㄀ϔᆊ⇥䯈݀Ⲟ not-for-profit little theatre gongyi xiaojuchang ᇣ࠻എ Beijing International Beijing Guoji Dujiaoxi ࣫Ҁ೑䰙⣀㾦៣៣࠻㡖 One-man Play Festival Xijujie Beijing Nanluoguxiang Beijing Nanluoguxiang ࣫Ҁफ䫷哧Ꮛ៣࠻㡖 Performing Arts Festival Xijujie 246 APPENDIX 2

English/Romanization used pinyin ∝ᄫˋ⓶ᄫa in the text

Beijing People’s Art Theatre Beijing Renmin Yishu ࣫ҀҎ⇥㡎ᴃ࠻䰶 Juyuan Beijing-Shanghai Dual City Beijing-Shanghai ࣫ҀϞ⍋ঠජ䆄៣࠻Ѹ Theatre Exchange shuangchengji xiju ⌕⌏ࡼ jiaoliu huodong being between alike and si yu busi zhijian ԐϢϡԐП䯈 unlike being the character, and not ji shi renwu, you bushi ᮶ᰃҎ⠽ˈজϡᰃҎ⠽ being the character renwu Body Phase Studio Shenti Qixiang Guan 䑿ԧ⇨䈵佚 Bootleg Faust Daoban Fushide ⲫ⠜⍂຿ᖋ Bus Stop Chezhan 䔺キ butting oxen dingniu 乊⠯ Can Three Make It? Part I Sanren xingbuxing I ϝҎ㸠ϡ㸠, Can Three Make It? Sanren xingbuxing II— ϝҎ㸠ϡ㸠,,üජᏖ Part II—City Panic Chengshi zhi huang Пᜠ Can Three Make It? Sanren xingbuxing III— ϝҎ㸠ϡ㸠,,,ü2+ϝ Part III—Oh! Three O! sanchakou ቨষ Diverged Paths Cao Yu ᳍⾎ Capital Theatre Shoudu Juchang 佪䛑࠻എ Central Academy of Drama Zhongyang Xiju Xueyuan Ё༂៣࠻ᄺ䰶 Central Experimental Zhongyang Shiyan Ё༂ᅲ偠䆱࠻䰶 Theatre Huajuyuan Chan, Peter Chen Kexin 䰜ৃ䕯 Chang, Eileen Zhang Ailing ᓴ⠅⦆ Chen Dabei 䰜໻ᚆ Chen Tianhua 䰜໽ढ Chen Xinyi 䰜㭾Ӟ Cherry Orchard Yingtao yuan  ḗು Chessman Qiren ẟҎ Chiefs of Anti-Corruption Fantan juzhang ড䋾ሔ䭓 Bureau China Youth Art Theatre Zhongguo Qingnian Ё೑䴦ᑈ㡎ᴃ࠻䰶 Yishu Juyuan City of Sadness Beiqing chengshi ᚆᚙජᏖ City Metamorphosis Chengshi bianxingji ජᏖবᔶ䆄 Clash Theatre Zhuang Jutuan ᩲ࠻ಶ Close and Distant Scenes Jinjing yuanjing 䖥᱃䖰᱃ close-up jinjing 䖥᱃ cloud-hands yunshou ѥ᠟ Cloud Gate Dance Theatre Yunmen Wuji 䳆䭔㟲䲚 Clown Loves the Beauty Xiaochou ai meili ᇣϥ⠅㕢Б Collapse of the Great Wall Banli changcheng ञ䞠䭋ජ conception of theatre xijuguan ៣࠻㾖 conceptual theatre guannian xiju 㾖ᗉ៣࠻ constructing the alternative goujian minjian ᵘᓎ⇥䯈 APPENDIX 2 247

English/Romanization used pinyin ∝ᄫˋ⓶ᄫa in the text

Contract Management chengbao zhidu ᡓࣙࠊᑺ Responsibility System corporatization of entities zhuanqi gaizhi 䕀ӕᬍࠊ Critical Point Theatre Linjiedian Juxianglu 㞼⬠咲࡛䈵䣘 Phenomenon cruel poeticism canku de shiyi ⅟䝋ⱘ䆫ᛣ Dai Wangshu ᠈ᳯ㟦 Death of the Poets Shiren si le 䆫Ҏ⅏њ De Ling & Empress Deling yu Cixi ᖋ唵㟛᜜⽻ Dowager Ci Xi Deng Xiaoping 䙧ᇣᑇ disregard the family in dayi mieqin ໻Н♁҆ the interests of great righteousness Ding Naizhu ϕЗノ Do not Touch My Woman Wode laopo ni biedong ៥ⱘ㗕ယԴ߿ࡼ དϔӊخDo one thing, and one thing Ren, yibeizi neng zuohao Ҏˈϔ䓽ᄤ㛑 well, your entire life, and yijianshi, jiu џˈህࡳᖋ೧ⓓњDŽ your accomplishment will gongde-yuanman le. be complete. Dongcheng District Dongchengqu ϰජऎ Dongcheng District Cultural Dongchengqu Wenhua ϰජऎ᭛࣪ྨਬӮ Committee Weiyuanhui Dongcheng Drama Alliance Dongchengqu Xiju ϰජऎ៣࠻㘨ⲳ Lianmeng Dongmianhua Hutong Dongmianhua hutong ϰẝ㢅㚵ৠ double serves erwei ѠЎ Downstream Garage Xiahe Micang ϟ⊇䗋ҧ Dragon Inn Xin Longmen kezhan ᮄ啭䮼ᅶᷜ ⊐Drama Troupe attached to Zhongguo Renmin Ё೑Ҏ⇥㾷ᬒݯᘏᬓ the Political Department of Jiefangjun 䚼䆱࠻ಶ˄ᘏᬓ䆱࠻ the PLA Zongzhengzhibu ಶ˅ Huajutuan (Zongzheng Huajutuan) dual structure acting/ Biaoyan/daoyan de 㸼ⓨˋᇐⓨⱘঠ䞡㒧ᵘ directing shuangchong jiegou Eighteen Springs Bansheng yuan ञ⫳㓬 encouragetichang ᦤ׵ Feng Jiangzhou Є∳㟳 Fengchao Theatre Fengchao Juchang 㳖Ꮆ࠻എ Fengzi ⮃ᄤ Field of Life and Death Shengsichang ⫳⅏എ field maneuver lalian ᢝ㒗 File Zero Ling dang’an 䳊ḷḜ filing system beian zhi ໛Ḝࠊ final assessment made after gai guan lun ding ⲪỎ䆎ᅮ the lid is placed on a person’s coffin 248 APPENDIX 2

English/Romanization used pinyin ∝ᄫˋ⓶ᄫa in the text

Fisherman’s Revenge Dayu shajia ᠧ⏨ᴔᆊ Flowers in the Mirror , Moon Jinghua shuiyue 䬰㢅∈᳜ on the Water Forum on the Development of Zhongguo shichengshi Ё೑कජᏖ⣀ゟ࠻എ Nongovernmental Theatres duli juchang fazhan থሩ䆎യ in Ten Cities, the luntan For the Sake of the Republic Zouxiang gonghe 䍄৥݅੠ Founding of A Republic Jianguo daye ᓎ೑໻Ϯ Founding of the Party Jiandang daye ᓎܮ໻Ϯ fun haowanr ད⥽ عGao Xingjian 催㸠 gezixi ℠Ҩ᠆ give full scope tohongyang ᓬᡀ godmother ganma ᑆཛྷ Gong Xiaodong ᅿᰧϰ Gongfu (Kungfu) ࡳ໿ good people and good deeds haoren haoshi དҎདџ government paying the bills zhengfu maidan ᬓᑰфऩ Grass Stage Caotai Ban 㤝ৄ⧁ Gu Cheng 乒ජ Haizi ⍋ᄤ Hai Rui Dismissed from Office Hai Rui baguan ⍋⨲㔶ᅬ He Jiping ԩݔᑇ He Nian ԩᗉ Head without Tail Guanyu aiqing guisu de ݇Ѣ⠅ᚙᔦᆓⱘ᳔ᮄ zuixin guannian 㾖ᗉ Hebei Provincial Spoken Hebeisheng Huajuyuan ⊇࣫ⳕ䆱࠻䰶 Drama Theatre Hezhu’s New Match Hezhu xin pei 㥋⦴ᮄ䜡 highlight tuchu さߎ Hiroshi Ohashi ໻ḹᅣ Ho Yingfung He Yingfeng ԩឝ䈤 honey of the box office piaofang mitang ⼼᠓㳰㊪ Hong Kong Repertory Xianggang Huajutuan 佭␃䁅࡛೬ Theatre Hong Shen ⋾⏅ Hou Qinghui փ᱈䕝 Hou Xiaoxian փᄱ䊶 Hu Zongqi 㚵ᅫ⧾ huaiju ⏂࠻ Huang Haiwei 咗⍋࿕ Huang Lei 咘⺞ Huang Qingze 咘⏙⋑ Huang Xing 咘݈ Huang Ying 咘Ⲝ Huang Zuolin 咘ԤЈ I Love XXX Wo ai XXX ៥⠅;;; APPENDIX 2 249

English/Romanization used pinyin ∝ᄫˋ⓶ᄫa in the text

Ice Cream Mountain Moshan 儨ቅ in the play, and not in the playji zai xi zhong, you buzai ᮶೼៣Ёজϡ೼៣Ё xi zhong independentduli ⣀ゟ independent theatreduli xiju/duli juchang ⣀ゟ៣࠻⣀ゟ࠻എ inquisition biwen 䘐䯂 insist jianchi മᣕ Ji Weiran ㋔㫮✊ Jiang Huaxuan 㫷㧃䒦 Jiang Jie ྰᵄ Jiang Qing ∳䴦 Jiang Tao ྰ⍯ Jiang Zemin ∳⋑⇥ Jiang Zhi 㩟ᖫ Jiang Zhihui ∳ᱎ᜻ Jiangnan Liguo ∳फ㮰ᵰ Jiao Juyin ⛺㦞䱤 Jiaodaokou Street Jiaodaokou Jiedao Ѹ䘧ষ㸫䘧ࡲџ໘ Administrative Office Banshichu Jin Shijie 䞥຿٥ Jin Yong 䞥ᒌ jingju Ҁ࠻ knight-errant xia մ Koo, Joseph Gu Jiahui 主ᆊ✛ Kong Shangren ᄨᇮӏ Lai, Stan Lai Shengchuan 䋈㙆Ꮁ Lan-ling Theatre Workshop Lanling Jufang 㰁䱉࡛ഞ Lao She 㗕㟡 Last Winter Qunian dongtian এᑈހ໽ Lei Feng 䳋䫟 Li Ang ᴢᯖ Li Bai ᴢⱑ Li Dong ᴢϰ Li Guoxiu ᴢ೟ׂ Li Liuyi ᴢ݁Э Li Tiesheng ᴢ䪕⫳ Liangxiang /pose ҂Ⳍ Liao Shifu ᒪ䆫ᆠ Liao Yimei ᒪϔṙ Lin Biao ᵫᔾ Lin Jia-feng ᵫՇ䢦 Lin Juemin ᵫ㾝⇥ Liu Yunshan ߬ѥቅ Lin Zhaohua ᵫܚढ Lin Zhaohua Theatre Studio Lin Zhaohua Xiju ᵫܚढ៣࠻Ꮉ԰ᅸ Gongzuoshi Lingyunyan ޠѥ✄ 250 APPENDIX 2

English/Romanization used pinyin ∝ᄫˋ⓶ᄫa in the text

Little Society, The Xiao shehui ᇣ⼒Ӯ Little Theatre (Movement) Xiaojuchang (yundong) ᇣ࡛จ˄䘟ࢩ˅ Liu Kedong ߬⾥ᷟ long shot yuanjing 䖰᱃ Love Is Colder than Death Ai bi si geng lengku ⠅↨⅏᳈ދ䝋 Lu Xun 剕䖙 Lu Xun 2008 剕䖙 Luo Yihe 做ϔ⾒ main melody zhuxuanl ü Џᮟᕟ Mao Anying ↯ኌ㣅 Mao, Fredric Mao Junhui ↯֞䓱 Mao Zedong ↯⋑ϰ Master Builder, The Jianzhu dashi ᓎㄥ໻Ꮬ Meng Bing ᄳބ Meng Bing Phenomenon Meng Bing xianxiang ᄳބ⦄䈵 Meng Jinghui ᄳҀ䕝 Meng Jinghui Studio Meng Jinghui Xiju ᄳҀ䕝៣࠻Ꮉ԰ᅸ Gongzuoshi Mini blogweibo ᖂम model theatreyangbanxi ḋᵓ៣ Madman’s Diary, A Kuangren riji ⢖Ҏ᮹䆄 May Fourth Movement Wusi yundong Ѩಯ䖤ࡼ Mei Lanfang ṙ݄㢇 migrant/peasant worker nongmin gong ݰ⇥Ꮉ Mou Sen ⠳Ể Mu De 〚ᖋ Nanluoguxiang Culture and Nanluoguxiang wenhua फ䫷哧Ꮛ᭛࣪ӥ䯆㸫 Leisure Street xiuxianjie narrative acting xushu de biaoyan ভ䗄ⱘ㸼ⓨ National Academy of Chinese Zhongguo Xiqu Xueyuan Ё೑៣᳆ᄺ䰶 Theatre Arts national drama movement g uoju yundong ೑࠻䖤ࡼ National Theatre of China Zhongguo Guojia Ё೑೑ᆊ䆱࠻䰶 Huajuyuan new drama xinju ᮄ࠻ New Youth Xin qingnian ᮄ䴦ᑈ Nie Guangyan 㙊ܝ♢ Night Inn Yedian ໰ᑫ Ning Caishen ᅕ䋶⼲ No. 81 in the Chaonei: A Lingyi jingsong wutaiju: ♉ᓖ᚞᙮㟲ৄ࠻˖ᳱ Supernatural Thriller Chaonei 81 hao ݙো old drama jiuju ᮻ࠻ orthodox drama zhengju ℷ࠻ Our Songs, Our Nostalgia Wode xiangchou, wode ge ៥ⱘ䛝ᛕˈ៥ⱘ℠ Ouyang Yuqian ⃻䰇ќ׽ Peking Opera: The Revelation Jingxi qishilu Ҁ᠆ଳ⼎䣘 Peking University Drama Beida jushe ࣫໻࠻⼒ Society APPENDIX 2 251

English/Romanization used pinyin ∝ᄫˋ⓶ᄫa in the text

Peng Dehuai ᕁᖋᗔ Penghao Theatre Penghao juchang 㫀㪓࠻എ Performance Workshop Biaoyan Gongzuofang 㸼ⓨᎹ԰ഞ petit-white-collarxiao bailing ᇣⱑ乚 Ping-Fong Acting Troupe Pingfeng Biaoyanban ሣ乼㸼ⓨ⧁ pingtan 䆘ᔍ Poly Theatre Baoli Juyuan ֱ߽࠻䰶 popular minjian ⇥䯈 popularizationdazhonghua ໻ӫ࣪ positive energy zheng nengliang ℷ㛑䞣 privately runminying ⇥㧹 Pu Cunxin ◂ᄬᯩ public welfare gongyixing ݀Ⲟᗻ public institutions shiye danwei џϮऩԡ Qin ⾺ Qin Hailu ⾺⍋⩤ Qiu Jin ⾟⩒ Records of the Historian Shi ji ৆䆄 registration system huji zhidu ᠋㈡ࠊᑺ Ren Ming ӏ号 repertory theatre dingmuju ᅮⳂ࡛ revolutionary history relics geming lishi wenwu 䴽ੑग़৆᭛⠽ Rhinoceros in Love Lian’ai de xiniu ᘟ⠅ⱘ⡔⠯ Richard III Licha sanshi ⧚ᶹϝϪ Sang Qi ḥ⧺ Savage Land, The Yuanye ॳ䞢 Searching for Li Dazhao Xunzhao Li Dazhao ᇏᡒᴢ໻䩞 Secret of Our Resurrection Lihua meng Ṽ㢅໶ self-introduction technique zi bao jiamen 㞾᡹ᆊ䮼 Shamlet Shamuleite 㥢ྚ䳋⡍ Shang Yang ଚ䵙 Shanghai Dramatic Arts Shanghai Huaju Yishu Ϟ⍋䆱࠻㡎ᴃЁᖗ Centre Zhongxin Shanghai Municipal Shanghaishi chengxiang Ϟ⍋Ꮦජеሙ⇥᳔Ԣ⫳ ޚGovernment “Minimum jumin zuidi shenghuo ⌏ֱ䱰ᷛ Livelihood Guarantee” baozhang biaozhun Shanghai Theatre Academy Shanghai Xiju Xueyuan Ϟ⍋៣࠻ᄺ䰶 Shao Yanpeng 䚉ᔺẮ Shao Zehui 䚉⋑䕝 Shen Shaomin ≜ᇥ⇥ Shi Zhi 亳ᣛ shock the heaven and the jingtian dongdi ᚞໽ࡼഄ earth Sima Qian ৌ偀䖕 simulated madness zhuangfeng 㺙⮃ Sinicizing huaju huaju minzuhua 䆱࠻⇥ᮣ࣪ Soft Rouruan ᶨ䕃 252 APPENDIX 2

English/Romanization used pinyin ∝ᄫˋ⓶ᄫa in the text song-dance theatre/ xiqu ៣᳆ traditional/indigenous Chinese theatre/traditional opera Soul of the Republic Xinhai hun 䕯ѹ儖 South Gong and Drum Lane Nanluoguxiang फ䫷哧Ꮛ spoken drama/modern theatre huaju 䆱࠻ Squat Dun 䑆 stage play wutaiju 㟲㟎࡛ Story of Gong and Drum Luoguxiang de gushi 䫷哧Ꮛⱘᬙџ Lane, The Story of the Deer and the Lu ding ji 呓哢䆄 Cauldron, The storytelling/balladryshuochang yishu/ quyi 䇈 ଅ 㡎 ᴃˋ᳆ 㡎 Sun Dong ᄭϰ Sun Jiazheng ᄭᆊℷ Sun Yat-sen ᄭЁቅ Sun—Regicide, The Taiyang — shi ໾䰇gᓥ Sunrise Richu ᮹ߎ Sweet & Sour Hong Kong Suansuan tiantian 䝌䝌⫰⫰佭␃ഄ Xianggang di Taking Tiger Mountain by Zhiqu Weihushan ᱎপ࿕㰢ቅ Strategy Tea House Chaguan 㤊佚 Theatre Reform xigai ៣ᬍ theatre without time-spacewu shikong xiju ᮴ᯊぎ៣࠻ Three Sisters & Waiting for San jiemei–Dengdai ϝྤྍüㄝᕙៜ໮ Godot Geduo Thunderstorm Leiyu 䳋䲼 Tian Han ⬄∝ Tian Qiyuan ⬄ଳܗ Tian Qinxin ⬄≕䨿 Tianjin People’s Art Theatre Tianjin Renmin Yishu ໽⋹Ҏ⇥㡎ᴃ࠻䰶 Juyuan Tong Sze Hong Tang Shikang ⑃ᰖᒋ Tong Xiangling ス⼹㢧 Tsui, Hark Xu Ke ᕤܟ trunk closing performancefengxiang yanchu ᇕㆅⓨߎ turtle’s egg wangbadan ⥟ˋᖬܿ㲟 Uncle Doggie’s Nirvana Gouerye niepan ⢫ܓ⠋⍙ᾗ Wang Chong ⥟㖔 Wang Deming ⥟ᖋᯢ Wang Hanyi ⥟ᰫ៓ Wang Hong ⥟ᅣ Wang Jingguo ⥟᱃೑ Wang Molin ⥟๼ᵫ Wang Shaojun ⥟㒡ݯ APPENDIX 2 253

English/Romanization used pinyin ∝ᄫˋ⓶ᄫa in the text

Wang Xiang ⥟㖨 Wang Yansong ⥟ᓊᵒ Wang Yue ⥟᳜ Wang’s Eight Items Wang batiao ⥟ܿᴵ Warlords Tou ming zhuang ᡩৡ⢊ Water Bar Shuibian Ba ∈䖍৻ Water Margin Shuihu zhuan ∈⌦Ӵ Watermelon Xigua 㽓⪰ We Are One Family Mingyue heceng shi ᯢ᳜ԩ᳒ᰃܽ䛝 liangxiang Wedding Memories Nü ’er hong ཇܦ㋙ Wei 儣 Wen Yiduo 䯏ϔ໮ White Deer Prairie Bai lu yuan ⱑ呓ॳ Wildman Yeren 䞢Ҏ within the systemtizhi nei ԧࠊݙ Wong, James Huang Zhan 咗䳥 Wu Han ਈᰫ Wu Jingji ਇ䴰ঢ় Wu Meng ਈṺ Wu Song ℺ᵒ Xi Chuan 㽓Ꮁ Xi Jinping д䖥ᑇ Xiao Hong 㧻㑶 Xiao Li 㙪࡯ Xiong Foxi ❞ԯ㽓 Xu Rongchang ᕤᾂᯠ Xue Dianjie 㭯↓ᵄ Yan Huichang 䮏ᚴᯠ Yang Cunbin ᴼᴥᕀ Yang Zirong ᴼᄤ㤷 Yen, James Y. C. Yan Yangchu ᰣ䰇߱ Yao Yi-wei ྮϔ㨺 Yao Yuan ྮ䖰 Yellow Storm, The Sishitongtang ಯϪৠූ Yi Liming ᯧゟᯢ Yin Zhusheng ል䫌㚰 Yu Dafu 䚕䖒໿ Yu Jian Ѣമ Yu Kai ᒒ߃ Yu Rongjun ஏ㤷ݯ Yu Shangyuan ԭϞ≙ Zhan Huiling 䁍᜻⦆ Zhang Wu ᓴ℺ Zhang Yicheng ᔉϔ៤ Zhao Chuan 䍉Ꮁ Zhao Liang 䍉㡃 254 APPENDIX 2

English/Romanization used pinyin ∝ᄫˋ⓶ᄫa in the text

Zhao Miao 䍉⏐ Zhou Enlai ਼ᘽᴹ Zhu Rongji ᴅ䬩෎ Zou Rong 䚍ᆍ a All Chinese written characters are in simplified form except for the materials from Taiwan and Hong Kong.

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Contributors

Shelby Kar-yan CHAN is associate professor at School of Translation, Hang Seng Management College, Hong Kong. She is the author of Identity and Theatre Translation in Hong Kong (2015). Her research interests include interpreting, Chinese-language theatre, Gao Xingjian, cinematic adaptation, gastronomic translation, and post- colonial studies. She has also translated four plays from English to Cantonese for stage performances in Hong Kong.

Xiaomei CHEN is professor in the department of East Asian Languages and Cultures at University of California at Davis. She is the author of Occidentalism: A Theory of Counter-Discourse in Post-Mao China (1995; revised and expanded edition, 2002), and Acting the Right Part: Political Theater and Popular Drama in Contemporary China (2002). She is the coeditor, with Claire Sponsler, of East of West: Cross- Cultural Performances and the Staging of Difference (2000), and with Julia Andrew, of Visual Culture in Contemporary China (2001). She is the editor of Reading the Right Texts (2003) and Columbia Anthology of Modern Chinese Drama (2010; abridged edition, 2014). She has authored 50 journal articles and book chapters, and her new book, titled Staging Chinese Revolutions: Founding Fathers, National Stage, and Revisionist Histories in Twentieth-Century China , is forthcoming from Columbia University Press.

Katherine Hui-ling CHOU is professor of English at National Central University in Taiwan, project director of NCU’s Performance Center and ETI (a digital archive of Taiwan’s modern theatre). She is a play- wright/director and has published widely; her recent research focus is performing arts in creative industry and cultural economy. Her aca- demic publications include Performing China: Actresses, Visual Politics and Performance Culture, 1910s–1945 , and her plays and productions include He Is My Wife, He Is My Mother and eight other works. She is also the editor-in-chief of Performing Taiwan: Script, Design and Stagecraft, 1943– . 274 CONTRIBUTORS

Tarryn Li-Min C HUN is a PhD candidate in the Department of East Asian Languages and Civilizations at Harvard University. Her disser- tation project explores the interrelation of technology, theatricality, and modernity in twentieth- to twenty-first-century China by analyz- ing transformations in the material conditions of theatrical produc- tion, dramatic composition, and performance practice. Her work has been published in TDR , as well as in the Chinese-language journals Wenxue (Literature) and Xiju yishu (Theatre Arts).

Rossella FERRARI is senior lecturer in Chinese and Theatre Studies at SOAS, University of London. Her research interests include Chinese- language theatres, inter-Asian theatre networks, and intercultural performance. Her research has appeared in TDR , Postcolonial Studies , positions : asia critique , New Theatre Quarterly , and elsewhere. She is the author of Pop Goes the Avant-Garde : Experimental Theatre in Contemporary China (2012).

Gilbert C. F. FONG is an acclaimed translator, provost, professor, and dean of the School of Translation of Hang Seng Management College in Hong Kong. Fong translated into English many plays by Gao Xingjian (2000 Nobel Prize in Literature), including The Other Shore and Snow in August . He also translated into Chinese Beckett’s Waiting for Godot , Genet’s Haute Surveillance, and many other plays, all for stage performances in Hong Kong. His recent works include On Drama (with Gao Xingjian, 2010) and Dubbing and Subtitling in a World Context (2009). He was the editor of Hong Kong Drama Review and Journal of Translation .

L I Ruru is professor of Chinese Theatre Studies in the School of Languages, Cultures and Societies, University of Leeds, United Kingdom. She has written extensively on Shakespeare performance in China (including a monograph Shashibiya: Staging Shakespeare in China 2003) and on Chinese theatre (modern/traditional). Her recent works include The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World (2010), Translucent Jade: Li Yuru on Stage and in Life ([in Chinese] 2010), and a photographic exhibition Cao Yu (1910–1996): Pioneer of Modern Chinese Drama (2011– ). Li runs traditional song-dance theatre workshops for both students and theatre professionals because she regards regular contact with the theatre as essential to her academic work.

L IN Wei-yu is assistant professor in the Department of Drama Creation and Application at the National University of Tainan, Taiwan. After CONTRIBUTORS 275 having received her PhD from the Theatre and Dance Department at the University of Hawai‘i, she taught at the Peking University Theatre Research Institute and the National Academy of Chinese Theatre Arts in Beijing. Her academic interests include Chinese modern theatre, modern application of traditional theatre elements in Asian modern theatre, and Cambodian classical dance-drama.

Siyuan L IU is assistant professor of Theatre at the University of British Columbia, Canada. He is the author of Performing Hybridity in Colonial-Modern China (2013), coauthor of Modern Asian Theatre and Performance 1900–2000 (2014), and coeditor of The Methuen Drama Anthology of Modern Asian Plays (2014). He has published over 20 articles on twentieth-century Chinese theatre and intercul- tural theatre in edited books and peer-reviewed journals. He coedited two “Founders of the Field” series for Asian Theatre Journal .

MA Haili is senior lecturer in Chinese Studies, director of the China Research Centre at the University of Chester, United Kingdom. She was trained to play xiaosheng (young male) roles at Shanghai Luwan District Yueju Company before embarking on an academic path. Her research examines the artistic evolution of traditional/indigenous Chinese song-dance theatre under the contemporary social, political, economic, and media conditions. She is the author of Urban Politics and Cultural Capital, the Case of Chinese Opera (2015).

P U Bo is assistant professor at the Zhejiang University of Media and Communications, China. He has a doctorate from East China Normal University. He is the author of Performance of Space in the Era of Globalization ([in Chinese] 2015). He is also a poet, a writer, and a member of Chinese Writers Association.

Rosemary ROBERTS is senior lecturer in Chinese Studies at the University of Queensland, Australia. She is the author of Maoist Model Theatre: The Semiotics of Gender and Sexuality in the Chinese Cultural Revolution ( 1966–1976 ) and has published widely in the areas of mod- ern Chinese literature, culture, and gender studies. She is also coedi- tor of four volumes of critical works on literary, cultural, and gender studies in China and East Asia. Her current research includes a major collaborative project Making and Remaking China’s Red Classics and a book project on the sociopolitical and aesthetic history of Chinese lianhuanhua (picture story books).

John B. W EINSTEIN is associate professor of Chinese and Asian Studies at Bard College at Simon’s Rock, and principal and dean 276 CONTRIBUTORS of the Early College at Bard High School Early College—Newark, United States. A scholar who publishes on Republican period main- land theatre and contemporary Taiwan theatre, he served as president of the Association for Asian Performance from 2006 to 2011. He is the editor and cotranslator of Voices of Taiwanese Women: Three Contemporary Plays (2015).

YANG Zi is research fellow at Shanghai Art Research Institute, and visiting scholar at University of Chester, United Kingom. She has a PhD from East China Normal University, and her research inter- ests lie in urban studies, theatre, film and visual studies, and cul- tural industries. She has published a number of journal articles on film and theatre studies in China’s leading academic journals and is coauthor of Folklore in Jiangnan ([in Chinese] 2010). Her two new books, Performing Shanghai: Urban Imaginary in Theatrical Space and Differential Accent: Non-State-Run Huaiju Troupes in Shanghai since the 1980s , are forthcoming from Shanghai Renmin Chubanshe.

Index

Absolute Signal, 42, 43, 46, 164, Can Three Make It? Part III—Oh! 242 Three Diverged Paths, 191, acting, 11, 19, 34, 37–9, 42–9, 242. See also Li Guoxiu 69–70, 84, 102, 124–5, Cao Yu, 16–36, 80, 110, 198, 243. 131, 141–4, 151, 169–70, See also playwriting and Savage 171, 189–90, 233. See also Land individual actors Capital Theatre. See also Beijing amateur drama. See under huaju People’s Art Theatre Archives of Life, 79–85, 88, 89, Carlson, Marvin, 3 242. See also Meng Bing Central Academy of Drama, 51, Association of Dramatists, National 110, 164, 218–19, 224, 230 and Beijing local, 58, 228 Central Experimental Theatre, 160, audiences, 2, 3, 21, 37–9, 41, 43, 167–8, 219, 242 46–7, 48–9, 51, 90, 102, 105, Chapple, Freda, 129 110, 118–19, 125, 141–2, Chekhov, Anton, 38, 47. See also 144, 150–1, 154–5, 157–8, foreign theatrical influence 159–61, 171–2, 188–9, 193–4, under huaju 196, 203–4, 235. See also Chen Xinyi, 35–6, 55, 61–2, 65–6, consumerism 242. See also directing, Shang avant-garde theatre. See under Yang huaju China Youth Art Theatre, 160, 168 civilized drama. See under huaju Bakhtin, Mikhail, 145, 147–8, 150, cloud-hands, 12. See also jingju and 155, 157 song-dance theatre Ballad of Yellow Earth, The, 86–9, conception of theatre, the. See 242. See also Meng Bing under huaju Beijing Nanluoguxiang Performing consumerism, 115–21, 134–6, Arts Festival, 182, 219, 231. 146–7, 153–5, 159–61, 168–9, See also Wang Xiang 170–2, 179, 182, 205, 219–20, Beijing People’s Art Theatre, 42–3, 237. See also commercial 110, 164, 168, 172, 173, 242. theatre under huaju See also Cao Yu, Jiao Juyin and cultural industry, 138–9, 159–62, Lin Zhaohua 165, 167–72 Bourdieu, Pierre, 3, 5, 234 Cultural Revolution, 13–14, 42, 51, Brecht, Bertolt, 13, 44, 79–80, 83, 62, 64, 65–6, 80–1, 88, 115, 90 186, 235 278 INDEX dance, 47, 50, 82, 97–9, 100–1, Grotowski, Jerzy, 13, 38, 44. See 106–9, 127, 131, 142, 209–10, also foreign theatrical influence 240 under huaju Deng Xiaoping, 50, 55, 57, 88, 153, 183 Habermas, Jürgen, 227–8 directing, 11, 15–16, 18–19, 22–3, He Jiping, 98, 101–6, 110–11, 242. 24–34, 43–4, 73–4, 79–80, See also playwriting and 83–4, 92, 141–4, 165, 233. See Sweet & Sour Hong Kong also individual directors He Nian, 141–4, 147–8, 158, 243. Drama Troupe attached to the See also directing, Shanghai Political Department of the Dramatic Arts Centre, PLA, 55, 83, 85, 242, 243. See Shanghai Theatre Academy, also Meng Bing and Story of the Deer and the duli (independent). See independent Cauldron theatre under huaju Hebei Provincial Spoken Drama Theatre, 243 economic reforms, 56, 57, 62–3, Hezhu’s New Match, 178–9, 65, 77, 78, 86, 116, 138–9, 189–90, 195, 201, 242. See 153, 205, 213, 234, 240. See also Little Theatre Movement also Deng Xiaoping, Jiang under huaju Zemin and Zhu Rongji Hong Kong, 1–2, 97–100, 101–5, 110 nonprofit cultural institutions Hong Kong Repertory Theatre, into for-profit enterprises, 117, 98–9, 111, 242. See also Fredric 118–19, 160 Mao Hong Shen, 80, 85. See also Feuer, Jane, 106, 108, 110 directing, origins under huaju Field of Life and Death, 164–6, and playwriting 242. See also Li Dong and huaju (spoken drama/modern Tian Qinxin Chinese theatre) and its Flowers in the Mirror, Moon on the significant topics Water, 120, 123–40, 243. amateur drama (aimeiju), 180–1, See also Meng Jinghui and Xi 183 Chuan avant-garde theatre (xianfeng cinematic space, 133–4 xiju), 42–3, 125–7, poetry, 129–32 134–9, 161–2, 195 (see also experimental theatre) Gao Xingjian, 42, 164, 242. See civilized drama (wenmingxi), 8 also Absolute Signal, Lin classical plays (jingdian jumu), Zhaohua and playwriting 11–14 (see also Master Builder gezixi, 195 and Savage Land) gongfu (Kungfu or martial arts), commercial theatre (shangye xiju), 120–1. See also Story of the 43, 83–4, 116, 180, 182–3, Deer and the Cauldron 205, 207 Grass Stage, 116, 179–80, 181, conception of theatre, the 243. See also Zhao Chuan (xijuguan), 13–14, 115 INDEX 279 huaju—Continued positive and negative characters, experimental theatre, 42, 120, 65, 68, 76–7, 78 125, 135, 178, 189–90, 195, Sinicizing huaju (huaju 209, 226, 231, 238 (see also minzuhua), 11–14, 39, 45–6, avant-garde theatre) 50–2 foreign plays, Chinese socialist realist theatre, 55, 70, performance, 13, 46, 47, 83, 87, 235 164–5, 198 (see also Master Soviet theatre experts in China, Builder) 50, 52 foreign theatrical influences, 13, symbolic and expressionist 17, 44, 79–80, 160, 189–91, techniques, 17–18, 19, 24–34 200–1, 234 (see also Brecht, white-collar theatre (bailing xiju), Chekhov, Grotowski, Ibsen, 119, 141–58 Meyerhold, O’Neill, origins Huang Zuolin, 13. See also under huaju, Schechner, conception of theatre under Stanislavski) huaju and directing historical drama (lishiju), 62, 65–6 Ibsen, Henrik, 38, 40, 41, 49, 52, independent theatre (duli xiju/ 80. See also foreign theatrical duli juchang), 116, 177–83, influence under huaju 185, 189, 198, 213, 239 ideology, 1–2, 3–4, 55–9, 75, intermedial stage (duomeiti 77, 85, 95, 98, 103–6, 108, wutai), 123–40, 207, 234 109–10, 115–16, 118, 149–50, Little Theatre Movement 153–4, 155–7, 166, 177–8, (xiaojuchang yundong), 2, 204–5, 210–14, 226–8, 232, 178–9, 188–9, 191, 198–200 235, 236–8. See also Deng main melody (zhuxuanlü) Xiaoping, Jiang Zemin, Mao theatre, 3–4, 55–9, 61–78, Zedong, Marx, Xi Jinping 79–96, 97–111, 115, 118, 183, Lei Feng, 87–8, 95–6 (see also 236–7, 238 (see also ideology) Meng Bing) mainstream theatre (zhuliu xiju)/state-sponsored theatre Jiang Zemin, 57–8 (tizhinei juyuantuan), 115, Jiao Juyin, 13, 14, 51–2. See also 207, 213, 219, 226, 230 directing and Sinicizing (compare independent theatre huaju and minjian) Jin Shijie, 189–90, 242. See also minjian (popular), 179, 181, 183, acting and Hezhu’s New Match 222, 231 jingju, 13, 51, 115–16, 164, 178–9, national drama movement (guoju 186–7, 189–90, 201. See yundong), 11–13, 50–1 also song-dance theatre and origins, 1–2, 4, 5, 12, 38–9, 116, traditional performance arts 160, 180, 181, 233, 234–5, 239 Lan-ling Theatre Workshop, peasant drama (nongmin xiju), 189–90, 242. See also Jin 180–1 Shijie, Li Guoxiu and Wu Jingji 280 INDEX

Lao She, 121, 159. See also Yellow Meng Jinghui Studio, 124, 222, Storm 243 Lehmann, Hans-Thies, 209–10 Meyerhold, Vsevolod, 14, 38, Li Dong, 121, 160, 163–8, 171–3. 44, 132–3. See also foreign See also National Theatre of theatrical influence under China, Tian Qinxin huaju Li Guoxiu, 185–201, 242. See also minjian (popular). See under huaju acting, directing, Ping-Fong multimedia. See intermedial stage Acting Troupe and playwriting under huaju Lin Zhaohua, 37–52, 164, 226, music, 15, 18, 61–2, 73–4, 79, 242. See also directing, 97–9, 100–1, 208, 215 experimental theatre under musical or musical theatre huaju and Master Builder (yinyueju), 2–3, 55, 97–111 Lin Zhaohua Theatre Studio, 38, 42, 52, 242 National Academy of Chinese Little Society, The, 177, 203–14, Theatre Arts, 216 243. See also Grass Stage and national drama movement. See Zhao Chuan under huaju field maneuver (lalian), 210–12 National Theatre of China, 118, theatre of inquisition, 206–12 159–61, 168, 170–2, 219, 243. Little Theatre Movement. See See also Li Dong, Meng Jinghui under huaju and Tian Qinxin Lü Liang, 120. See also Shanghai Ning Caishen, 141, 149, 151, 154, Dramatic Arts Centre 156, 157, 243. See also He Nian, playwriting and Story of main melody theatre. See under the Deer and the Cauldron huaju Mao, Fredric, 55, 98–103, 242. See O’Neill, Eugene, 17. See also foreign also directing and Sweet & Sour theatrical influence under Hong Kong huaju Mao Zedong, 57, 62, 64, 73, 77–8, Ouyang Yuqian, 1, 95. See also 88–9, 91, 94–5, 153–4, 237, acting and civilized drama 239. See also ideology under huaju Marx, Karl, 13, 56, 153, 158, 204, 212. See also ideology peasant drama. See under huaju Master Builder, The, 37–52, 242. Peking Opera: The Revelation, See also Lin Zhaohua and 178–9, 185–201. See also Li Yi Liming Guoxiu and Taiwan Meng Bing, 55, 58, 79–96, 242, memory, 196–8 243. See also main melody multi-role acting technique, under huaju and playwriting 191–5 Meng Bing Phenomenon, 85–6 Penghao Theatre, 116, 179, Meng Jinghui, 120, 123–40, 164, 181–2, 215, 217–18, 221–3, 171, 172, 173, 243. See also 225–6, 228–30, 243. See also directing and Flowers in the independent theatre under Mirror, Moon on the Water huaju and Wang Xiang INDEX 281

Ping-Fong Acting Troupe, 185, also Chen Xinyi, He Nian, Lü 188–201, 242. See also Li Liang and Yu, Nick Rongjun Guoxiu and Taiwan Shanghai Theatre Academy, 121, pingtan, 45, 46. See also 235 storytelling/balladry and Sinicizing huaju. See under huaju traditional performance arts song-dance theatre/traditional/ playwriting, 16–19, 32–4, 35, 37–9, indigenous Chinese theatre/ 40, 41, 61–2, 73–4, 82–3, traditional opera. See xiqu 87–8, 90–2, 97, 149, 151, Soul of the Republic, 92–5. See also 154, 200–1, 233, 236. See also Meng Bing individual playwrights sound, 21–2, 41, 62, 66–7, 68, 79, Poly Theatre, 163, 173 94, 123, 128, 129, 133, 148, popularization (dazhonghua), 180. 236 See also minjian and peasant stage design, 18, 22–3, 24–5, 35, drama under huaju 37, 41, 47, 61–2, 66–9, 73–4, Pu Cunxin, 37, 41–2, 47. See also 79, 89, 97, 106, 123–5, 127–8, acting and Lin Zhaohua 133, 148, 163–4, 187, 190, puppetry, 44–5, 141–2, 144–5. See 203–4, 215, 233, 236. See also also He Nian, Lin Zhaohua, individual designers and traditional performance Stanislavski, Constantin, 11, 14, 38, arts 39–40, 41, 43–4, 50–2, 83–4, 144. See also foreign theatrical Savage Land, The, 5, 11, 15–36, influence, Soviet theatre 243. See also Cao Yu and Wang experts under huaju Yansong Story of Gong and Drum Lane, The, directed by Cao Yu, 18 177, 1 82, 215–32, 243. directed by Chen Xinyi, 35 See also Wang Shaojun and directed by Li Liuyi, 35–6 Wang Xiang Schechner, Richard, 34. See also Story of the Deer and the Cauldron, foreign theatrical influence The, 117–18, 120–1, 141–58, under huaju 243. See also He Nian and Searching for Li Dazhao, 89–92, Ning Caishen 243. See also Meng Bing knight-errant (wuxia), 155–6 self-introduction technique. See storytelling/balladry (quyi), 11, also jingju and song-dance 43, 45. See also pingtan and theatre traditional performance arts Shamlet, 192, 195. See also Li Sweet & Sour Hong Kong, 58, Guoxiu 97–111, 242. See also Fredric Shang Yang, 6, 58, 61–78, 242. See Mao and He Jiping also Chen Xinyi and Yao Yuan lyrics, 102, 104 Confucianism, 64, 71–2, 77, 78 Szondi, Peter, 49 historical interpretation of Shang Yang, 62, 63–4, 66–7, 71 Taiwan, 1, 2, 159, 177–8, 185–201 Shanghai Dramatic Arts Centre, Teahouse, 163–4, 173. See also 117–21, 141, 143–4, 146–7, Beijing People’s Art Theatre, 154–5, 158, 242, 243. See Jiao Juyin and Lin Zhaohua 282 INDEX theatre management, 115–16, Xi Chuan, 123, 128–9, 130, 132, 146–7, 165–6, 168–9, 171–2, 139, 243. See also Flowers 177–8, 182, 205, 218–19, 233. in the Mirror, Moon on the See also individual producers Water Theatre Reform (xigai), 115, 117 Xi Jinping, 58–9, 236–7 Thunderstorm, 16, 35, 198. See also Xiong Foxi, 180–1. See also origins, Cao Yu, classical plays under peasant drama under huaju huaju and Wang Yansong xiqu (traditional song-dance Tian Qinxin, 115, 121, 137, theatre/traditional Chinese 159–60, 163–73, 242, 243. theatre/traditional opera), 1, See also directing, Li Dong, 7, 11–12, 13–14, 77, 116–17, playwriting and Yellow Storm 181, 43–4, 45–7, 49–50, 67–8, Tianjin People’s Art Theatre, 16, 79–80, 189–90. See also 243. See also Wang Yansong jingju traditional performance arts, 44, 164, 195. See also jingju, yangbanxi (model theatre), 69, pingtan, song-dance theatre 186, 195. See also Cultural (xiqu), storytelling/balladry Revolution and jingju (quyi) Yao Yuan, 61–2, 64, 242. See also playwriting and Shang Wagner, Rudolf G., 74 Yang Wang Shaojun, 215, 216, 243. See Yellow Storm, The, 121, 159–73, also directing, playwriting and 243. See also Li Dong and Tian Story of Gong and Drum Lane Qinxin Wang Xiang, 179, 181–2, 216–32, original novel, 163–4 243. See also Penghao Theatre Yi Liming, 37–8, 40, 242. See and Story of Gong and Drum also Master Builder and stage Lane design Wang Yansong, 5, 11, 14, 16–35, Yin Zhusheng, 69. See also acting 243. See also directing and Yu, Nick Rongjun, 8, 146–7, 158. Savage Land See also Shanghai Dramatic We Are One Family, 98, 103, 108, Arts Centre 242. See also Sweet & Sour Yu Shangyuan, 13. See also Hong Kong national drama movement white-collar theatre. See under under huaju huaju Wu Jingji, 189. See also Hezhu’s Zhao Chuan, 179–80, 205–14, New Match 243. See also Grass Stage wutaiju (stage play), 2–3, 178–9, Zhou Enlai, 64, 237 186, 195, 201. See also huaju Zhu Rongji, 62, 65, 71. See also and Taiwan Shang Yang