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Lin Hawii 0085A 10387.Pdf THE INTERCULTURAL PROCESS OF CREATING JINGJU ADAPTATIONS OF WESTERN LITERATURE IN THE 21ST CENTURY A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THEATRE August 2019 By Yining Lin DissErtation CommittEE: Elizabeth Wichmann-Walczak, Chair Markus WEssEndorf JuliE Iezzi Lurana Donnels O’MallEy Anna Stirr KEywords: jingju, adaptation, WEstErn LitErature ACKNOWLEDGEMENTS There are so many peoplE to whom I am indebtEd. Without them, my years of fiEldwork and writing would not have beEn as succEssful and I owE them so much. First of all, I would like to thank IIE and Confucius CentEr Joint PhD FEllowship Grant, which so generously funded my year in the fiEld and put mE in contact with my sponsoring Professor, Li Yi at Beijing Normal University, who always had a smilE and so much enthusiasm. My work in China during my fiEld resEarch would have beEn wastEd if it wEre not for the generous help of my numErous translators in Beijing and Shanghai, the National China Jingju Company, the Shanghai Jingju Company, and the incredibly helpful staff at the MEi Lanfang Grand Theatre who all camE to recognizE mE by the end of my year in China. In Shanghai, I wish to also thank Carolyn Surh and Trevor Fox who opened their homE up to mE sEveral timEs during the year. Thank you so much for the homE-cooked mEals, for one of the best Egg salad sandwiches I’ve ever had, and for all of the trips down mEmory lane. There wEre also so many friEnds and fellow PhD students who played a huge rolE in making mE feEl at homE in Beijing. The Boozy Broads: Elizabeth Emrich-Rouge, Fiona Cunningham, Hannah Theaker, Samantha Vortherms, and EloisE Wright - I'm really not sure what I would have done without our Zarah work datEs, our group datEs to Sanlitun, Cellar Door, and Slow Boat. Special thanks goes to Elizabeth Emrich who becamE my first friEnd in Beijing and put up with mE during a threE-week resEarch trip to Shanghai, and to her and Fiona for helping mE find my wEdding qipao in one of the most ridiculous wEdding malls I have evEr sEEn. I would also like to thank the mEmbers of the Provincial Cuisine Club, especially JEssE Watson, David PortEr, David Stroup, and JamEs McClone. ThesE dinners and the conversations, during and aftEr, wEre always the best. Thanks to David Stroup who lEt mE usE his pictures of Beijing billboards on Niu JiE. In the UnitEd StatEs, I would firstly like to thank my advisor, Elizabeth Wichmann-Walczak for her unwavering support and inspiration. Even when I wantEd to vent and yell, she was always there with a calming word. Thank you! A huge thank you to Markus WEssEndorf for not only taking a chancE on a new graduatE student and trusting mE with Waiting for Godot and then Uncle Vanya and Zombies, but also for the countlEss hours of guidancE through a wide variEty of theatrical theory. I also thank him from the bottom of my heart for reading all of the drafts I could sEnd him. Thanks to my committEE: Elizabeth Wichmann-Walczak, Markus WEssEndorf, Lurana Donnels O’MallEy, JuliE Iezzi, and Anna Stirr for agreEing to be on my committEE, for their advicE, and their patiEncE with mE and the forms. 2 Many thanks to go PamEla DiPasqualE and the ENTIRE ClEveland Play HousE Education DEpartmEnt for your patiEncE as a I jugglE two full timE jobs and easily forget things that are not writtEn down. To MarcEla Lopes, Ines Joris, Laney Davis, Nathan Lilly, NatE Sayatovich, DErek GreEn. Oh. What do I say? Thank you so much for the encouragemEnt, the food adventures, the ready conversations, and the constant stream of “just get it done!” More thanks go to the staff and admin at Adlai E. StEvenson Prek-8 School and Almira PreK-8 Academy for your support, the delicious treats, and conversations about life and work. My parents, PEtEr and Karen Lin, who not only travellEd to China during my first wEEk there to help mE sEt up, but who also spent threE years transcribing and translating my intErviEws. In addition, they also planned a good portion of my wEdding. They have given mE so much in my 35 years and I thank them so much for all of their help. I would also like to thank my in-laws, Dan, Kathy, and Jonny Moskowitz for their unwavEring support and visits. Special thanks to Kathy and her amazing ability to make sure I de-stressEd with somE sEwing and cooking. Thank you! To my sounding boards: Sylvi Cohn, Kristina Tannenbaum, AlEx Rogals, LouisE Hung, Nick Ish, Broede Armstrong, DalE SEEds, and ShirlEy Huston-FindlEy. Thank you so much for pushing mE through high school, collEge, and graduatE school. You have all played an intEgral part of my developmEnt as a human and as an academic. I cannot thank you enough. So much thanks go to Broede Armstrong: friEnd and editor! Thank you so much for going through draft upon draft of this dissErtation. More thanks go to Audrey Hodge, my editor. Your questions and persistEncE through this documEnt wEre unmatched. Last, but definitEly, not lEast, I would like to thank my husband, Andy Moskowitz. You have beEn so supportive over the past threE years, listEning to mE ramblE, vent, whilE also giving mE ideas on how to procEEd and move forward. I don't know what I could have done without you by side thesE past 15 years and I am so looking forward to what the future holds in store for us. 3 ABSTRACT This dissErtation examines the mEthods and procEss of creating jingju adaptations of WEstErn LitErature highlightEd through five casE studies: Zhuli Xiaojie (《朱丽⼩姐》Miss Julie), Xiaoli zhisi (《⼩吏之死》The Little Servant Who Died), Woyicaike (《沃伊采克》 Woyzeck), Fushide (《浮士德》Faust), and Shengmuyuan/Qingshang zhonglou (《圣母院》/ 《情殇钟楼》Notre Dame de Paris). ThesE casE studiEs presEntEd unique and different challEnges, which wEre solved with a variEty of adaptation mEthods in pursuit of two unofficial but pervasive goals: 1) to creatively challEnge and inspire jingju artists and 2) to bring in younger and new audiEncEs in order to revitalizE jingju. In order to facE the specific challEnges for each production, the creative tEams, made up of actors, playwrights, composErs, directors, and sEt, costumE, and lighting designers, utilizEd different mEthods of adaptation ranging from changing the cultural contExt from the WEst to China, to mixing WEstErn and jingju conventions, to bending jingju’s Four Main Skills and rolE catEgoriEs. The mEthods, utilizEd by the National China Jingju Company and the Shanghai Jingju Company, and the dynamics of their respective creative tEams are analyzEd via Marvin Carlson’s SEven IntErcultural Relationships, which highlights the varying relationships of intErcultural theatre. In the 21st cEntury, jingju practitioners are choosing to remain in the ChinesE cultural contExt, creating jingju performancEs that revitalizE jingju as a form of Cultural Nationalism, whilE also adhering to traditional jingju traditions and practicEs. 4 TABLE OF CONTENTS ACKNOWLEDGEMENTS……………………………………………………...……………2 ABSTRACT………………………………………………………………………………..….4 LIST OF IMAGES..………………………………………………………………………….12 A NOTE ON NAMES……………………………………………………………………….14 CHAPTER 1: INTRODUCTION…………………………………………………………16 PurposE……………………………………………………………………………………….16 Justification and Past ResEarch………………………………………………………………16 IntErcultural Theatre Models……………………………………………………………..21 Areas of Examination………………………………………………………………………..26 Jingju Convention………………………………………………………………………..26 RolE CatEgoriEs………………………………………………………….……….28 Sheng……………………………………………………………………..28 Dan……………………………………………………………………….31 Hualian…………………………………………………………………..34 Chou……………………………………………………………………...35 Music……………………………………………………………………………..37 MEthodology…………………………………………………………………………………38 Theoretical MEthodology………………………………………………………………...38 FiEldwork MEthodology………………………………………………………………….39 Archival ResEarch and AttEnding PErformancEs………………………………...39 IntErviEws………………………………………………………………………...39 Limits of ResEarch…………………………………………………………………………...42 Approach to this Study……………………………………………………………………….42 CHAPTER 2: XIAOLI ZHISI (《⼩吏之死》 THE LITTLE SERVANT WHO DIED)……………………………………………………………………………………......44 Introduction………………………………..…………………………………………………44 Haipai – Shanghai-style jingju ……………………..……………………………………45 Anton Chekhov and DEath of a GovernmEnt ClErk…………………..………………….48 The Creative tEam…………………………………………………...…………….……..52 Pre-Production……………………………………………………………...………………..54 5 Script Creation…………………………………………………………………………...54 Conventions UsEd and AdaptEd…………………………………………….………….…….56 Solo PErformancE…………………………………………………………………….…..57 RolE CatEgoriEs…………………………………………………………………………..58 Yue Dianshi (曰典史 The LittlE SErvant)……………………………………......58 His Wife………………………………………………………………………….60 The Imperial Inspector, County MagistratE, and GatEkeEper................................61 DancE-Acting………………………………………….…………………………………62 AnxiEty and DEath……………………………………………………………….62 His Wife…………………………………………………………………………65 Music……………………………………………………….……………………………66 Composition………………………………………….…………………………..67 Shuban…………………………………………………….……………………...68 Shuzhou Pingtan………………………………………….……………………...69 Orchestra……………………………………………………….………………...70 SEt…………………………...………………………………………………………..….71 Lighting……………………………………………………………………………..……72 CostumEs and Makeup………………………………………………………………..….73 Conclusion…………………………………………………………………………..…...75 CHAPTER 3: ZHULI XIAOJIE (《朱莉小姐》MISS JULIE)………………………….….77 Introduction…………………………………………………………………………………...….77 Strindberg and Miss JuliE……………………………………………..…………………………78 Pre-Production…………………………………………………………………………………...82
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