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Intercultural and Cross-cultural Encounters during the Quatercentenary of Tang Xianzu and Shakespeare

Intercultural and Cross-cultural Encounters during the Quatercentenary of Tang Xianzu and... <p>Abstract:</p><p>Many productions were staged to celebrate the 2016 quatercentenary of Tang Xianzu and Shakespeare&apos;s death. <i>Shakespeare-Tang Project</i> celebrated both playwrights through the production of <i>Midsummer Night&apos;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&apos;s Gecko and the Shanghai Drama Art Center worked on a production that combines Shakespeare&apos;s <i>A Midsummer Night&apos;s Dream</i> with Tang&apos;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> http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Intercultural and Cross-cultural Encounters during the Quatercentenary of Tang Xianzu and Shakespeare

Asian Theatre Journal , Volume 36 (2) – Oct 4, 2019

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

<p>Abstract:</p><p>Many productions were staged to celebrate the 2016 quatercentenary of Tang Xianzu and Shakespeare&apos;s death. <i>Shakespeare-Tang Project</i> celebrated both playwrights through the production of <i>Midsummer Night&apos;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&apos;s Gecko and the Shanghai Drama Art Center worked on a production that combines Shakespeare&apos;s <i>A Midsummer Night&apos;s Dream</i> with Tang&apos;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>

Journal

Asian Theatre JournalUniversity of Hawai'I Press

Published: Oct 4, 2019

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