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<p>Abstract:</p><p>Many productions were staged to celebrate the 2016 quatercentenary of Tang Xianzu and Shakespeare's death. <i>Shakespeare-Tang Project</i> celebrated both playwrights through the production of <i>Midsummer Night's DREAMING Under the Southern Bough (Zhongxiaye mengnanke)</i>, staged both in UK and in China. As part of a separate festival taking place in China, <i>Shakespeare Lives</i>, Britain's Gecko and the Shanghai Drama Art Center worked on a production that combines Shakespeare's <i>A Midsummer Night's Dream</i> with Tang's <i>The Peony Pavilion</i>. Do these international festivals cement an already well-established imaginary of a transnational global Shakespeare and his theatre in both China and UK? By investigating the reception of these productions, this article argues that Chinese theatre undergoes a process of "othering" and "selforientalization" and there are hidden political agendas at play.</p>
Asian Theatre Journal – University of Hawai'I Press
Published: Oct 4, 2019
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