Titlebook: Sinophone Adaptations of Shakespeare; An Anthology, 1987-2 Alexa Alice Joubin Book 2022 The Editor(s) (if applicable) and The Author(s), un

惊奇

Coda: Theatrical Bricolage of , and , in Beijing (1986),pters in this book feature large-scale adaptations of ., or ., but this work, which its co-authors call an “allegory,” brings together the protagonists of Shakespeare’s four tragedies to explore “the essence of being” human. Hamlet, Macbeth, Lear, and Othello pour their heart out to a character call

Obstruction

as Political Theatre in Beijing: , by Lin Zhaohua (1990)Tian’anmen Square and the Chinese government’s crackdown on the democratic movement in Beijing, which culminated in the massacre on June 4, 1989. The production by Beijing People’s Art Theatre (1989; revived in 1990 and 1994) featured three actors who played the titular character in turn. The arrang

勉励

as Parody in Taipei: , by Lee Kuo-hsiu 李國修 (1992 / 2008)is postsocialist society, everyone is a morally coward Hamlet, Taiwanese playwright Lee Kuo-hsiu uses Shakespeare’s tragedy as a pretext in his metatheatrical play, . (1992). Set in post-martial-law Taiwan, . turns high tragedy into comic parody. A struggling theater company rehearses and stages . d

爱得痛了

DEVIL

A Feminist , in Tainan: , by Lü Po-shen 呂柏伸 (2007)on. Entitled ., Lü Po-shen’s .-musical adaptation focuses on the three “weird sisters,” each sporting a mask of a bearded man on the back of their head while wearing an emotion-less mask on their face. The uses of percussion and classical piano music further enriched the production’s aural landscape

Blood-Vessels

A Confucian , in Shanghai: , 岐王夢 by Shanghai Jingju Theatre Company (1995)mpany’s 1995 . presents the tragedy as a moralizing story from a fictional pre-modern China. Opening with King Qi’s birthday celebration and closing with a scene of “rebirth” of the king who has reconciled with his redeemed daughter, the play frames filial piety and fraternal love as part of a natur

Budget

暗指

A Feminist , in Tainan: , by Lü Po-shen 呂柏伸 (2007)lided Shakespeare’s battle scenes and excised male characters, re-narrating the play from feminine perspectives. This 2007 production was notable as one of the few Taiwanese-language performances of Western drama.

推测

circuit

2947-8901 ative analysis. This anthology is an indispensable tool for the teaching and research of Sinophone theatre‘s engagement with Western classics in the late twentieth and early twenty-first centuries.   978-3-030-92995-4978-3-030-92993-0Series ISSN 2947-8901 Series E-ISSN 2947-891X