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The Impact of Japanese Shinpa on Early Chinese Huaju

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The Impact of Japanese Shinpa on Early Chinese Huaju THE IMPACT OF JAPANESE SHINPA ON EARLY CHINESE HUAJU by Siyuan Liu BA, Nankai University, Tianjin, China, 1986 MA, Nankai University, Tianjin, China, 1989 MA, St. Cloud State University, 1996 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2006 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Siyuan Liu It was defended on November 6, 2006 and approved by Dr. J. Thomas Rimer Dr. Bruce McConachie Dr. Kathleen George Dr. Attilio Favorini Dissertation Director (Committee Chairperson) i Copyright © by Siyuan Liu 2006 ii Dr. Attilio Favorini THE IMPACT OF JAPANESE SHINPA ON EARLY CHINESE HUAJU Siyuan Liu, PhD University of Pittsburgh, 2006 This dissertation explores the intercultural forces that affected the formation of wenmingxi (civilized drama), China’s first Western-style theatre that flourished in Shanghai in the 1910s, following the 1907 production of Uncle Tom’s Cabin by the Chinese student group the Spring Willow Society (Chunliu She) in Tokyo. In contrast to huaju (spoken drama), the present form of Western theatre in China, which came into existence in the 1920s through a whole-sale importation, wenmingxi adopted a localized approach by mixing Western drama, shinpa (new school drama, the first Western-style Japanese theatre), and traditional Chinese theatre. Based on primary sources as well as recent historical and theoretical studies from China, Japan, and the West, my dissertation focuses on the ideological, dramaturgical, and theatrical transformation wenmingxi brought to Chinese theatre. The study is divided into four chapters and an introduction, which lays out previous research on this topic and my theoretical framework. Chapter One presents a historical review of wenmingxi, from early Western theatrical productions in Shanghai by expatriates and students of missionary and other schools, through Spring Willow’s productions in Tokyo, and finally to the rise and fall of wenmingxi in Shanghai in the 1910s. Chapter Two examines the role of nationalism in the emergence of speech-based theatre in Japan and China around the turn of the twentieth century when political instability and fear of national peril largely accounted for both the political focus of early wenmingxi and its continued nationalist content even during its brief iii commercial success in the mid 1910s. Chapter Three focuses on wenmingxi dramaturgy by tracing the intercultural transformation of several representative plays. It deals with three topics: the use of scripted plays vs. scenarios, adaptation vs. translation of European and shinpa plays, and melodrama as the emblematic dramatic mode for a society in transition. Finally, Chapter Four examines wenmingxi’s localization of the theatrical institution—especially in the realm of performance—between the poles of “free acting,” Western naturalism, and native theatrical conventions such as singing and female impersonation. iv TABLE OF CONTENTS TABLE OF CONTENTS................................................................................................................ v TABLE OF FIGURES.................................................................................................................. vii ACKNOWLEDGEMENT ............................................................................................................. ix 1. INTRODUCTION .................................................................................................................. 1 1.1. PRIOR RESEARCH....................................................................................................... 2 1.2. THEORETICAL FRAMEWORK.................................................................................. 6 1.2.1. Interculturalism....................................................................................................... 6 1.2.2. Post-colonialism.................................................................................................... 11 1.2.3. The National Stage................................................................................................ 13 1.2.4. Literary vs. Institutional Analysis......................................................................... 16 1.2.5. Translation vs. adaptation..................................................................................... 19 1.2.6. Role of Traditional Theatre................................................................................... 21 1.2.7. Film Studies.......................................................................................................... 22 1.3. DESCRIPTION OF CHAPTERS................................................................................. 22 1.3.1. Chapter One: Historical Overview........................................................................ 22 1.3.2. Chapter Two: Aspiration for a National Theatre .................................................. 24 1.3.3. Chapter Three: Literary Analysis—Transformation of Dramatic Literature........ 25 1.3.4. Chapter Four: Institutional Analysis–- Localization of the New Theatre............. 27 2. CHAPTER ONE: HISTORICAL OVERVIEW................................................................... 28 2.1. STATE OF THEATRE BEFORE THE CHUNLIU SHE (SPRING WILLOW SOCIETY) ................................................................................................................................ 28 2.1.1. Western-Style Theatre in Shanghai before 1907 .................................................. 28 2.1.2. Reform of Traditional Theatre.............................................................................. 38 2.2. THE CHUNLIU SHE (SPPRNG WILLOW SOCIETY) IN TOKYO......................... 39 2.2.1. Chinese Students in Japan..................................................................................... 39 2.2.2. Western-Style Theatre in Japan ............................................................................ 41 2.2.3. The Formation of Chunliu She (The Spring Willow Society).............................. 44 2.2.4. La Dame aux Camélias......................................................................................... 48 2.2.5. Black Slave’s Cry to Heaven................................................................................. 51 2.2.6. Subsequent Productions........................................................................................ 63 2.3. WENMINGXI IN SHANGHAI BETWEEN 1907 AND 1913.................................... 72 2.3.1. Wang Zhongsheng and The Chunyang She (Spring Sun Society) ....................... 72 2.3.2. The Jinhua Tuan (Progressive Troupe)................................................................. 78 2.3.3. The Xinju Tongzhihui (New Drama Society)....................................................... 81 2.4. WENMINGXI IN SHANGHAI BETWEEN 1913 AND 1917.................................... 82 2.4.1. The Xinmin She (New People Society) and The Minming She (People’s Voice Society) ............................................................................................................................... 84 2.4.2. The Spring Willow Theatre .................................................................................. 90 2.4.3. Liu Yizhou, The Kaiming She (Enlightened Society), and Their Japan Tour...... 94 2.4.4. The Decline and Influence of Wenmingxi........................................................... 101 3. CHAPTER TWO: ASPIRATION FOR A NATIONAL THEATRE................................. 103 3.1. CALLS FOR THEATRICAL REFORM IN LATE QING ........................................ 104 3.2. THEATRE FOR THE EMPIRE AND REPUBLIC—WAR PLAYS IN SHINPA AND EARLY WENMINGXI............................................................................................................ 115 3.2.1. Shinpa War Plays................................................................................................ 115 v 3.2.2. Wenmingxi War Plays......................................................................................... 122 3.3. SAVING THE LOST NATION—NATIONALIST PLAYS AT THE HEIGHT OF WENMINGXI .......................................................................................................................... 127 3.3.1. Korean Plays....................................................................................................... 127 3.3.2. European Plays.................................................................................................... 132 4. CHAPTER THREE: LITERARY ANALYSIS—TRANSFORMATION OF DRAMATIC LITERATURE............................................................................................................................ 151 4.1. SCRIPT OR SCENARIO ........................................................................................... 151 4.1.1. Jiating enyuan ji (Love and Hate in a Family) and the Scripted Play................ 162 4.1.2. Konggu lan (Orchid of the Hollow Valley) and Dramatization .......................... 167 4.2. ADAPTATION VS. TRANSLATION....................................................................... 183 4.2.1. Critical Views..................................................................................................... 183 4.2.2. Angelo and Translation/Adaptation of European Plays...................................... 187 4.2.3. Kumo no hibiki and Adaptation of Shinpa Plays ................................................ 198 4.3. TRAGEDY OR MELODRAMA...............................................................................
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