By Alexa Huang

For with regards to 2 hundred years, the tips of Shakespeare have encouraged wonderful paintings within the literature, fiction, theater, and cinema of China, Taiwan, and Hong Kong. From the novels of Lao She and Lin Shu to Lu Xun's look for a chinese language "Shakespeare," and from Feng Xiaogang's martial arts movies to exertions camp memoirs, Soviet-Chinese theater, chinese language opera in Europe, and silent movie, Shakespeare has been positioned to paintings in unforeseen areas, yielding a wealthy trove of transnational imagery and paradoxical citations in renowned and political tradition.

Chinese Shakespeares is the 1st e-book to be aware of either Shakespearean functionality and Shakespeare's visual appeal in Sinophone tradition and their ambiguous dating to the postcolonial query. Substantiated through case experiences of significant cultural occasions and texts from the 1st Opium warfare in 1839 to our occasions, Chinese Shakespeares theorizes competing visions of "China" and "Shakespeare" within the international cultural market and demanding situations the good judgment of fidelity-based feedback and the parable of cultural exclusivity. In his critique of the locality and ideological investments of authenticity in nationalism, modernity, Marxism, and private identities, Huang finds the really transformative strength of chinese language Shakespeares.

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Extra info for Chinese Shakespeares: Two Centuries of Cultural Exchange

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These exchanges were fueled by Deng Xiaoping’s Open Door Policy (announced in 1978) and by the increasing economic ties among China, Hong Kong, Taiwan, and the rest of the world. After a few successful international tours in the 1980s of productions such as Huang Zuolin’s The Story of Bloody Hands (Xieshou ji, Shanghai Kun Opera Company) and Wu Hsing-kuo’s Kingdom of Desire (Yuwang chengguo, Taiwan’s Contemporary Legend Theatre), both inspired by Macbeth, the complexity of Chinese-opera styles was increasingly regarded by the performers and their sponsors not as an obstacle but as an asset in creating an international demand for visual creativity.

If we accept that cultural translation not only occurs in the space between these entities but also defines the interstices of global cultures, we must treat Asian- and European-informed conceptions of Shakespeare and of China as intertwining sets of formulations, as epistemic foundations for a critical understanding of Chinese Shakespeares. Only an adequate theory of what it means to localize Shakespeare can let us decide what does or does not succumb to the ideological forces driving these new works.

50 The habitual mystification of China is present in many other areas. Within the purview of theater studies in North America, Asian performance remains the ultimate Other, “unknowable, unlearnable, unfathomable, [because] the languages are imagined to be indecipherable, . . names are backwards, . . cultural values . . ”51 Ironically, some scholars of Asian studies are willing to endorse this attitude, readily confirming the difficulty of their own specialty and the challenges of cross-cultural dialogues.

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