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Marjorie K.M. Chan

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ohio state university

C5474: Chinese Opera

Chinese 5474 - Chinese Opera       

SPRING SEMESTER 2013

Chinese 5474
CHINESE OPERA

Professor Marjorie K.M. Chan
Dept. of East Asian Langs. & Lits.
The Ohio State University
Columbus, OH 43210
U.S.A.
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COURSE: Chinese 5474. Chinese Opera.
Class No. & Credit Hours:   13332   U   3 credits
Class No. & Credit Hours:   27310   G   3 credits
Prerequisites:   No prerequisites
Course page:   http://people.cohums.ohio-state.edu/chan9/c5474.htm
TIME & PLACE: T R   3:55 - 5:15 pm   180 Baker Systems   (Building 280, 1971 Neil Ave.)
(multimedia classroom with computer and internet connection)
a scene from 'Qiujiang'
OFFICE HOURS: R  1:30 - 3:30 p.m., or by appointment
Office:   362 Hagerty Hall   (1775 College Road)
Tel:        292.3619   (292.5816 for messages, 292.3225 for faxes)
E-mail:   chan.9at.symbolosu.edu
MC's Home Page:
MC's ChinaLinks:   
people.cohums.ohio-state.edu/chan9
ChinaLinks.osu.edu
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TEXTBOOKS

textbook 3textbook 2 textbook 1 These textbooks do not need to be purchased. They will be made available to students during the course.
  1. Bao, Chengjie and Juan Cao. 2002. Fascinating Stage Arts. Beijing: Foreign Languages Press. [Paperback; ISBN: 7-119-03053-1] [This book is catalogued in the OSU Libraries under a single author (Bao, Changjie); translators: He, Jun et al.] [PN2876.B37 X813 2003] Note: The textbook is no longer available from the publisher. It is on loan from Closed Reserve at Thompson (Main) Library, with additional copies to be made available from the instructor.
  2. Yi, Bian (compiler). 2005. Peking Opera: The Cream of Chinese Culture. Beijing: Foreign Languages Press. [Paperback; ISBN: 7-119-03697-1] [PN2876.B37 P45 2005] Yi (2005) is no longer available from the publisher. It is on loan from Closed Reserve at Thompson (Main) Library. Additional copies will be made available from the instructor.
  3. Zheng, Lei. 2006+ (no date). China's Traditional Kunqu Opera. (Chief editors: Li, Xin and Husheng Li; translated into English by RB Baron; fully illustrated with color photos.) Beijing: Ministry of Culture, People's Republic of China. The textbook will be made available from the instructor.
  4. Additional Readings and Other Resources:
    These will be made available during the semester. (See Readings list.)
Thompson (Main) Library Close Reserve and Electronic Reserves:
Library books that contain the required readings, as well as the two textbooks, are placed on Close Reserve at Thompson (Main) Library. (Note: Reserved materials for a given course are listed online for the current semester only.) A number of reference books are also placed on Reserve at Thompson Library. Additional required readings in PDF format from E-Reserve and other sources will be made available in Carmen.
Note: Check Ohio State University Libraries <library.osu.edu> for an online list of books and readings placed on Reserve and on E-Reserves for Chinese 5474. Under Quicklinks, select either “Reserves by Course” or “Reserves by Professor”. E-journal articles assigned for reading in the course can be retrieved by going to EJC: OhioLINK Electronic Journal Center and searching for the specific e-journal article for downloading.
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COURSE DESCRIPTION

Introduction to Chinese opera as traditional culture, dramatic literature, and performing art; selected opera scripts and stage performances from Beijing opera, Kunqu, and regional operas; illustrated discussions of various aspects of the theater.
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COURSE OBJECTIVES & EXPECTED OUTCOMES

This culture course, taught in English with no prerequisites, is an introduction to China's long and rich operatic tradition. While there are almost 400 varieties of Chinese operatic art forms in China today, the most well-known to the American public is Beijing opera (Peking opera). The oldest, and most prestigious, operatic tradition that is still performed today is Kunqu opera, which emerged in the Ming Dynasty (1368-1644), with over six hundred years of history. Kunqu, Beijing opera, and several representative regional operatic traditions (viz., Zhejiang Yue opera, Huangmei ("yellow plum") opera, and Guangdong Yue opera (Cantonese opera) will be introduced in the course. Among these Chinese operatic art forms, three have earned UNESCO's designation as "Masterpieces of Human Oral Cultural Heritage": Kunqu opera in 2001, Guangdong Yueju (Cantonese opera, identified by UNESCO simply as "Yueju opera") in 2009, and Beijing opera in 2010. The course will explore Chinese opera and its historical roots — in both popular and elite culture — as well as various aspects of stagecraft (e.g., music, singing, face-painting, gestures, props, etc.) through reading and examination of some representative operas and their performances for comparison and analysis.

Students are expected at the end of the course to have gained a basic knowledge of the history and performance traditions of Chinese opera, and be able to discourse critically on some aspects of that cultural tradition.
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COURSE CONTENT

mdt
This course focuses on two national operatic traditions — Kunqu (昆曲, a.k.a. Kunju 崑劇) or Kun opera, and Beijing opera (Jingju 京劇/京剧) — plus three representative regional operatic forms: Huangmei ("yellow plum") opera (黃梅戲/黄梅戏), Zhejiang Yue opera (越劇/越剧), and Guangdong Yue opera (粵劇/粤剧), the last better known as "Cantonese opera." The course studies the origins of China's performing arts tradition, its historical importance in Chinese society and popular culture, well-known plots and their literary and historical (or semi-historical and folk legend) sources, famous dramatists and their scripts, well-known performers, some local traditions, and last but not least, the stage arts — role types, training for those roles (including acrobatics and martial arts training), costumes appropriate for specific role types, gestures and mime, dance, stage and other props, musical instruments, arias and tunes, etc.

The course will examine Chinese opera using both print media and multimedia resources. Print media materials are readings that include studies on the topic, as well as synopses and select plays translated into English. (Corresponding scripts in Chinese will also be available for students who can read Chinese.) Multimedia materials consist of documentaries on Chinese opera and opera performers, in addition to excerpts of recorded stage performances (supplemented by film productions). Class discussion covers both print and multimedia resources used in the course.

Xiao He The course is organized based on the three main operatic traditions, namely, Kunqu, Beijing opera, and regional operas, selecting well-known, representative operas from each of them. As Chinese opera plots are traditionally divided into military (battles and other military exploits) and civil (romance, court cases, etc.), representative operas from both types of plots will be studied. The examination of various aspects of Chinese opera — including role types, make-up, costume and props, color choice in make-up and costumes, gesture and mime, singing, music, instrumentation, scenery, etc. — will be integrated into this introductory study of Chinese opera. Also available for the course are some colorful Chinese opera costumes, accessories, and props, as well as musical instruments that were donated by the department's late faculty member, Professor David Ch'en, who introduced this course then solely on Peking (Beijing) opera.

This course is conducted primarily through lectures, discussion of readings, viewing and discussion of video resources, and individual and small-group assignments in class. Students will be expected to present their homework assignments and final project. Computer technology will be integrated into the course (demo of frame-capture, digitizing, video-editing, etc.). All class assignments, e-Reserve readings, etc., will be in Carmen.osu.edu for retrieval. Some multimedia materials will be accessible online to students at the Media Manager, hosted and maintained by Ohio State's College of Arts and Sciences.
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STUDENT RESPONSIBILITIES

Xiang Yu - hegemon king
  1. Read and reflect on all assigned readings prior to attending class.
  2. Attend class regularly, and participate actively in class discussions of readings (including in-class reading of plots and synopses) and discussions of documentaries and other video-recorded materials.
  3. Submit three homework assignments and a final project.

    The three homework assignments may be reaction papers and critical analyses (about 4 double-spaced pages for undergraduate students and about 5-6 double-spaced pages for graduate students) based primarily on the textbooks, readings, and videorecordings, or some other individual or small-group mini-project, such as reviews, etc., of online and digital Chinese opera resources. Written assignments are to be submitted in hardcopy format in class, with a digital version (e.g., DOC(X), PDF, PowerPoint, Prezi, etc.) uploaded to the Dropbox in Carmen.osu.edu. Group locker space will be set up for students planning to work in small groups.

  4. For the final project:
    1. Turn in a one-page, double-spaced, project proposal plus select references by Week 11. Submit a digital copy to the Dropbox for the course in Carmen.osu.edu. (In the case of a project using CarmenWiki or some other online, collaborative project, submit a small text file providing the name of the project, a short paragraph description of the project, and the names of the project participants.)
    2. Present an oral version of the final project (in PowerPoint and/or multimedia format) at the end of the semester. Submit the digital file to the Dropbox in Carmen, or on DVD disc if the file is large.
    3. For research papers, submit the paper in hardcopy and digital format (10 double-spaced pages for undergraduate students, and about 12 double-spaced pages for graduate students), not including references and images, if any). Submit a digital copy to the Dropbox in Carmen, or on DVD disc if the file is too large for easy uploading to Carmen. For anyone planning to work in a non-print format for the final project—as an individual project or a group project—such as producing a short documentary film or some other form of multimedia project (e.g., creating a webpage or small website), a performance-based project, etc.). For group projects, be sure to consult with the instructor before-hand to determine grade assignment.

DISABILITY SERVICES

Students with disabilities that have been certified by the Office for Disability Services will be appropriately accommodated, and should inform the instructor as soon as possible of their needs. The Office for Disability Services is located in 150 Pomerene Hall, 1760 Neil Avenue (Tel: 292.3307. TDD: 292.0901)

ACADEMIC INTEGRITY (ACADEMIC MISCONDUCT)

Academic integrity is essential to maintaining an environment that fosters excellence in teaching, research, and other educational and scholarly activities. Failure to follow the rules and guidelines established in OSU's Code of Student Conduct may constitute “Academic Misconduct.” OSU's Code of Student Conduct (section 3335-23-04 Prohibited conduct) defines as academic misconduct “[a]ny activity that tends to compromise the academic integrity of the university, or subvert the educational process.” Examples of academic misconduct include (but are not limited to) plagiarism, collusion (unauthorized collaboration), copying the work of another student, possession of unauthorized materials during an examination, and submission of the same work for credit in two (or more) courses. Ignorance of the University's Code of Student Conduct is never considered an “excuse” for academic misconduct; hence, be sure to review the sections dealing with academic misconduct in the Code of Student Conduct. Be sure also to read the University's Ten Suggestions for Preserving Academic Integrity and/or the Eight Cardinal Rules of Academic Integrity (from Northwestern U.). The University's policy on academic misconduct will be enforced in accordance with Faculty Rule 3335-5-54, and all alleged cases of academic misconduct will be reported to the Office of Academic Affairs' Committee on Academic Misconduct (COAM) for resolution. In addition, graduate students should be familiar with the Graduate Student Code of Research and Scholarly Conduct (pdf). Students with questions concerning the University's policies or questions concerning academic or research misconduct are encouraged to ask the instructor any time during the semester.
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GRADING

There will be no midterm or final examination. Grading will be based on:

Attendance 10%
Class discussions/participation 20%
Assignments (3) 30%
Final project (all phases) 40%
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100%

Final grades are not placed on the bell curve, but will be calculated based on the individual student's earned percentage for the course:

A  (93%)      B+(88%)      C+(78%)      D+(68%)      E  (below 60%)
A- (90%)     B  (83%)     C  (73%)    D  (60%)         
        B-(80%)     C-(70%)               
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SCHEDULE

Classes are held on Tuesdays and Thursdays.
This is a preliminary schedule. Readings and activities may be revised before and when the term begins.
Opera selections may be modified subject to student interest, availability of videos, English translations, etc.


Next Schedule back to top WEEK 1.   BACKGROUND
1/8   Orientation and Introduction
  • Video & Discussion:
    • A Primer to Peking Opera
    • Some short video clips (e.g., Picking Up the Jade Bracelet)

  • For reference during the semester:
    • Bao & Cao (2002), Ch. III, V & VI
    • Yi (2005)
    • Bonds (2008), Ch. 1 & 2
1/10   Birth and Development of Chinese Opera
  • Video & Discussion:
    • Traditional Chinese Opera Art

  • Readings:
    • Bao & Cao (2002), Ch. I & II
    • Mackerras (1990), Ch. I & II

  • Background Readings (skim only):
    • Mackerras (1990), Ch. III
    • Ma (2005), Introduction

Next Prev back to top WEEK 2.   KUNQU OPERA I
1/15   Kunqu Opera: Operatic History & Dramatists
  • Videos & Discussion:

  • Readings:
    • Zheng (2006+), Ch. 1-2

peony pav

1/17   Kunqu Opera: The Peony Pavilion
  • Video & Discussion:
    • The Peony Pavilion (excerpts)

    • Explore online resources such as:

    • Peony Pavilion
      Archived, live-streamed performance on 11.30.2012 at the Astor Court in the Metropolitan Museum in New York. This short, 70-minute adaptation (from a 55-act, 20+ hour original) is directed by Tan Dun (谭盾). (See image in the left column. Click for a larger view.)

      The Peony Pavilion: Cal Performances (2006): The Peony Pavilion (pdf), including videorecorded interview (1) - interview (2) with Kenneth Pai (Pai Hsien-yung/Bai Xianyong); Tan Dun's 2012 adaptation (see above); a full, 20-hour production at Lincoln Center in 1999, directed by Chen Shizheng, etc.

  • Reading:
    • Zheng (2006+), Ch. 3

Next Prev back to top WEEK 3.   KUNQU OPERA II
1/22   Kunqu Opera: The Peach Blossom Fan
  • Video & Discussion:
    • The Peach Blossom Fan (excerpts)

  • Readings:
    • Li (2005), Intro.
    • Jin (2012), Ch. 3
1/24   Kunqu Opera: Zhong Kui Marries Off His Sister
  • Videos & Discussion:
    • Zhong Kui Marries Off His Sister (excerpts)
    • Short excerpt: Monkey King Borrows a Fan

  • Reading:
    • Wang (2009), Zhong Kui's Earthly Mission

Next Prev back to top WEEK 4.   KUNQU OPERA III
1/29   Kunqu Opera: Fifteen Strings of Cash
  • Video & Discussion:
    • Fifteen Strings of Cash (excerpts)

  • Readings:
    • Yang & Yang (1957a), Fifteen Strings of Cash
    • Scott (1969), Fifteen Strings of Cash ~ skim

    Due: Assignment 1

1/31   Kunqu Opera: Fifteen Strings of Cash
  • cont'd
  • other class activities

Next Prev back to top WEEK 5.   BEIJING OPERA I
2/5   Beijing Opera: Operatic History & Performing Artists
  • Videos & Discussion:
    • Video excerpts on Mei Lanfang & Cheng Yanqiu

  • Readings:
    • Cao & Bao (2002), Ch. IV
    • Goldstein (2007), Ch. 7
    • Goldstein (2007), Intro. & Ch. 1 - Background reading ~ skim
2/7  Beijing Opera: The Fisherman's Revenge
  • Video & Discussion:
    • The Fisherman's Revenge (excerpts)

  • Reading:
    • Yang & Yang (1956a), The Fisherman's Revenge

Happy Chinese New Year!
(Year of the Snake - 10 February 2013)


Next Prev back to top WEEK 6.   BEIJIING OPERA II
2/12  Beijing Opera: The Forsaken Wife
  • Video & Discussion:
    • Qin Xianglian, The Forsaken Wife (Beijing & Ping opera excerpts)

  • Reading:
    • Yang & Yang (1958), The Forsaken Wife
2/14  Beijing Opera: The Forsaken Wife
  • cont'd

  • Other opera excerpts involving Judge Bao (e.g., Case of the Black Basin, The Real and Fake Judge Bao, etc.).

Next Prev back to top WEEK 7.   BEIJING OPERA III
2/19   Beijing Opera: Farewell My Concubine
  • Video & Discussion:
    • Hegemon King Bids Farewell to His Concubine (excerpts)

  • Reading:
    • Dolby (1978), Hegemon King Says Farewell to His Queen

Due: Assignment 2

2/21   Beijing Opera: Farewell My Concubine
  • cont'd
  • other class activities

Next Prev back to top WEEK 8.   BEIJING OPERA IV
2/26   Beijing Opera: Lü Bu and Diao Chan
  • Video & Discussion:
    • Lü Bu and Diao Chan (excerpts)

  • Reading:
    • Hung (1971), Two Men on a String

  • Suppl. Reading:
    • Liu (1972), A Stratagem of Interlocking Rings
2/28 Beijing Opera: Lü Bu and Diao Chan
  • cont'd

  • Comparison of plot, themes, etc., with the original Yuan drama and with other versions and genres (e.g., Shaw Bros' 1958 huangmei opera film, Diau Charn (Diao Chan)).

  • Some short opera excerpts (about Cao Cao, Kong Ming (Zhuge Liang), Zhou Yu and other colorful figures) from the Romance of the Three Kingdoms.

Next Prev back to top WEEK 9.   BEIJING OPERA V
3/5   Beijing Opera: The White Snake
  • Video & Discussion:
    • Legend of the White Snake (excerpts)

  • Reading:
    • Yang & Yang (1957), The White Snake

  • Suppl. Reading:
    • Chang (1973), The White Snake
3/7   Beijing Opera: Orphan of the Zhao Family
  • Video & Discussion:
    • Orphan of the Zhao Family (excerpts)

    • Comparison of plot, character depiction, stagecraft, etc., with other versions and genres (e.g., the original Yuan drama, Shaw Bros' 1964 huangmei opera film, The Grand Substitution (Wangu Liufang); Chen Kaige's (2010) film, Sacrifice (Zhao Shi Gu'er); Royal Shakespeare Company: The Orphan of Zhao, directed by Gregory Doran that runs until 28 March 2013 at the Swan Theatre; etc.

  • Readings:
    • Liu (1972)
    • Mou (2009)

Next Prev back to top WEEK 10.   SPRING BREAK
3/12   Spring Break
  • No class
3/14   Spring Break
  • No class

Next Prev back to top WEEK 11.   REGIONAL OPERA I
3/19   Regional Opera: Huangmei Opera 1
  • Video & Discussion:
    • Huangmei ("Yellow Plum") Opera
    • Sample opera excerpts (e.g., The Heavenly Match, etc.)

  • Reading:
    • Siu (1997), Ch. 2
    • Cao & Bao (2002), Ch. IV (re-read latter half on regional opera artists)
    • Due: One-page project proposal and select references.

3/21   Regional Opera: Huangmei Opera 2
  • Video & Discussion:
    • The Emperor's Female Son-in-Law (excerpts)

    • The legacy and impact of Hong Kong Shaw Bros' huangmei opera films in popularizing the genre.

  • Reading:
    • Ma (2005), The Girl Who Marries a Princess

Next Prev back to top WEEK 12.   REGIONAL OPERA II
3/26   Regional Opera: Zhejiang Yue Opera 1
  • Video & Discussion:
    • Zhejiang Yue opera

    • Some sample opera excerpts (e.g., Dream of the Red Chamber, Romance of the Western Chamber, Pursuit of the Fish)

  • Readings:
    • Jiang (2009), Ch. 2
    • Jiang (2009), Intro. & Ch. 1 - Background reading ~ skim

Due: Homework Assignment 3

3/28   Regional Opera: Zhejiang Yue Opera 2
  • Video & Discussion:
    • The Butterfly Lovers: Liang Shanbo and Zhu Yingtai (excerpts)

  • Reading:
    • Yang & Yang (1956b), Love Under the Willows

*   *   *   *   *   *   *   *   *   *   *

Guest Lecture (4:00-4:30 pm)

You Ziying (游自荧)
(Ph.D. Candidate, DEALL, OSU)

"Performance of Regional Opera
at Temple Fairs in Rural China"


Next Prev back to top WEEK 13.   REGIONAL OPERA III
4/2  Regional Opera: Guangdong Yue Opera 1
  • Video & Discussion:
    • Guangdong Yue (Cantonese) Opera

    • Some sample opera excerpts (e.g., Guan Hanqing, The Butterfly Chalice, Liu Yi and the Dragon Princess' Wedding Night, The Umbrella Story, etc.)

  • Reading:
    • Ho (2005)
4/4   Regional Opera: Guangdong Yue Opera 2
  • Video & Discussion:
    • Searching the Academy

  • Reading:
    • Yang (1958), The Runaway Maid

Qingming Festival
(Tomb-Sweeping Day)


Next Prev back to top WEEK 14.   REGIONAL OPERA IV
4/9   Regional Opera: Guangdong Yue Opera 3
  • Video & Discussion:
    • Princess Changping, The Flower Princess (excerpts)

  • Reading:
    • Yung (2010), The Flower Princess
4/10   Regional Opera: Guangdong Yue Opera 4
  • Princess Changping, The Flower Princess - cont'd

*   *   *   *   *   *   *   *   *   *   *

Group Project - Skit:
“The Mini Flower Opera 小花女"


Next Prev back to top WEEK 15.   LAST FULL WEEK OF CLASSES
4/16   Last Week Activities
  • Student Presentations
4/18   Last Week Activities
  • Student Presentations

Due (4/18): Graduating Students' Final Project

Submit a hardcopy in class.
If the final project is a multimedia project,
submit a DVD to the instructor in class.


Submit a digital copy of the term paper
to the Carmen Dropbox by 9:00 p.m.


Prev back to top WEEKS 16 & 17.   EXAM WEEK
4/22 (M) - Last Day of Semester Classes
4/24-30 (W-T)  Final Exams


Final Project due:

Monday, 22 April 2013, 5:00 p.m.

Request for extension
need to be made by Week 14.

Final Project - Research Paper or Multimedia Project
Research Paper:
Submit:   1) a hardcopy in the instructor's mailbox in DEALL, 398 Hagerty Hall, and 2) a digital copy in the Dropbox in Carmen.

Multimedia Project:
Submit:   1) a DVD containing the project in the instructor's mailbox in DEALL, 398 Hagerty Hall, and 2) a digital copy in the Dropbox in Carmen. (Consult the instructor in advance for alternative options.)


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READINGS

TEXTBOOKS   (Available from Closed Reserve at Thompson (Main) Library, with additional copies available from the instructor.)
  1. Bao, Chengjie and Juan Cao. 2002. Fascinating Stage Arts. Beijing: Foreign Languages Press. [PN2876.B37 X813 2003] [This book is catalogued in the OSU Libraries under a single author (Bao, Changjie); translators: He, Jun et al.]
  2. Yi, Bian (compiler). 2005. Peking Opera: The Cream of Chinese Culture. Beijing: Foreign Languages Press. [PN2876.B37 P45 2005]
  3. Zheng, Lei. 2006+ (no date). China's Traditional Kunqu Opera. (Chief editors: Li, Xin and Husheng Li; translated into English by RB Baron; fully illustrated with color photos.) Beijing: Ministry of Culture, People's Republic of China.
        [Note 1: Produced by CAV Television Production Co., Ltd.; "Not for sale." There is no date given, but the book was likely published some time between 2006 and 2009. The earliest possible year of publication is 2006, since it contains a photo and caption on a 2006 stage performance of The Peony Pavilion, while the latest publication year is probably 2009, the year that the DVD for the box set edition was produced.]
        [Note 2: The (2006+) book by Zheng Lei (郑雷) is also available as an English-Chinese bilingual edition, with the same title in English and a Chinese title, Zhongguo Kunqu (中國昆曲). Packaged together with a DVD, a CD-ROM, and a VHS cassette tape, this box set, published and produced by the Ministry of Culture, People's Republic of China, is also "Not for sale" (but, happily for those wishing to own it, copies for sale (book alone, or as a box set edition) have made their way to the Web).]
ADDITIONAL READINGS   Asterisk (*) marks opera scripts that are translated into English. Noted also are videorecordings in VCD format of stage performances of the operas at Thompson (Main) Library, as part of Thompson Library' video collection of East Asian DVDs & VCDs. Check also for individual opera titles listed on DVDs and DVD sets at the library, since these are not individually catalogued. In addition, many Chinese operas (Peking, Kunqu, and regional operas) -- full operas or scenes from operas -- are also available online at Youtube.com and other video websites. The number of opera videos available online, in high resolution, has increased dramatically over the past few years, including those produced by CCTV, with Chinese subtitles for spoken and sung lines.

Readings for this semester's offering of Chinese 5474 that are in PDF format and prepared by Ohio State Libraries' E-Reserve will be available at Carmen. Some readings are downloadable as e-journal articles. For materials on Reserve at Thompson Library, check Ohio State University Libraries <library.osu.edu> under Quicklinks, and select either "Reserves by Course" or "Reserves by Professor" to obtain the list of books placed on Reserve for Chinese 5474. Other readings will be made available during the semester.

    sister 13
  1. Bonds, Alexandra B. 2008. Beijing Opera Costumes: The Visual Communication of Character and Culture. Honolulu: University of Hawai'i Press. [Excerpts: Chapter 1. "The World of Traditional Jingju" and Chapter 2. "The World of Traditional Jingju Costumes".]
  2. * Dolby, William. 1978. Eight Chinese Plays from the Thirteenth Century to the Present [Translated with an Introduction by William Dolby.] New York: Columbia University Press. [Excerpt: "Hegemon King Says Farewell to His Queen" (Ba-wang bie-ji / Bawang Bie Ji; a.k.a. 'Farewell My Concubine'). Beijing opera: Version performed by Mei Lanfang (1894-1961), pages 111-137.] [SUL VCDs (videorecording): Ba wang bie ji (霸王别姬)] [OSU Libraries have 2 copies, in addition to 22 copies in other OhioLINK libraries.]
  3. Goldstein, Joshua. 2007. Drama Kings: Players and Publics in the Re-creation of Peking Opera, 1870-1937. Berkeley: University of California Press. [Excerpts: Introduction. Chapter 1. "Late Qing Institutions of Peking Opera" and Chapter 7. "The Gendering of National Culture, Or, The Only Good Woman Is a Man"] [OSU Libraries and 9 other OhioLINK libraries have this book.]
  4. Ho, Virgil K.Y. 2005. Understanding Canton: Rethinking Popular Culture in the Republican Period. Oxford, UK: Oxford University Press. [Chapter 6. "Cantonese Opera as a Mirror of Society."]
  5. * Hung, Josephine Huang. 1971. Classical Chinese Plays. Second edition. Taipei: Mei Ya Publications. [Excerpt: "Two Men on a String" (Feng Yi T'ing / Feng Yi Ting)]. (Note: The same five plays are in the first edition, entitled Children of the Pear Garden: Five Plays from the Chinese Opera, and published in 1961 in Taipei by Heritage Press.) [THO VCDs (videorecording): Lv Bu yu Diao Chan (吕布与貂蝉)] [OSU Libaries and 13 other OhioLINK libraries have copies.]
  6. Jiang, Jin. 2009. Women Playing Men: Yue Opera and Social Change in Twentieth-Century Shanghai. Seattle and London: University of Wshington Press. [Excerpts: Introduction. "Opera, Gender, and the City"; Chapter 1. "The Origins of Yue Opera"; Chapter 2. "The Rise of Feminine Opera."] [OSU Libraries own both a printed copy and an e-book copy that can be read online.]
  7. Jin, Fu. 2012. Chinese Theatre. Translated from the original Chinese by Wenliang Wang, Huan Wang, and Lina Zhang. Cambridge, UK: Cambridge University Press. (Originally published by China Intercontinental Press as The Art of Chinese Theatre.) [Excerpt: Chapter 3. "Refinement and Elegance: Chuanqi of the Ming and Qing Dynasties and Kunqu Opera."]
  8. Li, Xiao. 2005. Chinese Kunqu Opera. Translated into English by Li Li and Liping Zhang. South San Francisco: Long River Press; Shanghai: Shanghai Press and Pub. Dev. Co. [Excerpt: Introduction]
  9. * Liu, Jung-en. 1972. Six Yüan Plays. London, England: Penguin Books Ltd. [Excerpts: "The Orphan of Chao" and "A Stratagem of Interlocking Rings"]
  10. * Ma, Qian (translator). 2005. Women in Traditional Chinese Theater: The Heroine's Play. Lanham, MD: University Press of America. [Excerpts: "Introduction" and "The Girl Who Marries a Princess" (Nü Fuma 女駙馬)]
  11. Mackerras, Colin. 1990. Chinese Drama: A Historical Survey. Beijing: New World Press. [Excerpts: Chapter I. "The Forerunners of Drama in China," Chapter II. "The Development of Drama in South China. Twelfth-Nineteenth Centuries," Chapter III. "Forms of North Chinese Drama. Thirteenth-Nineteenth Centuries."] [OSU Libraries do not own a copy, but 2 other OhioLINK libraries have it.]
  12. Mou, Sherry J. 2009. A child for all ages: The Orphan of Zhao. Education About Asia 14.1.23-28. (This article is on the opera, "The Orphan of the Zhao Family" (Zhao Shi Gu'er 趙氏孤兒).)
  13. * Scott, A. C. 1969. Traditional Chinese Plays. Volume 2. Madison, WI: University of Wisconsin Press. [Excerpt: "Fifteen Strings of Cash" (Shih Wu Kuan / Shi Wu Guan)] [THO VCDs (videorecording): Shi wu guan (十五贯)] [OSU Libraries and over 30 other OhioLINK libraries have volumes 1 through 3.]
  14. Siu, Wang-Ngai (with Peter Lovrick). 1997. Chinese Opera: Images and Stories. Vancouver, Canada: UBC Press; Seattle: U. of Washington Press. [Excerpt: Chapter 2. "Regional Opera Styles".] [OSU Libraries and 10 other OhioLINK libraries have this book.]
  15. * Wang, Ben. 2009. Laughter and Tears: Translation of Selected Kunqu Dramas. Beijing: Foreign Languages Press. [Excerpt: "Zhong Kui's Earthly Mission" (Chinese title: Zhong Kui Jia Mei 鍾馗嫁妹.)]
  16. * Yang, Gladys (translator). 1958. The Runaway Maid (A Cantonese Opera). [Revised by the Cantonese Opera Company of Kwangtung] Peking: Foreign Languages Press. (Translation of Sou Shuyuan 搜書院 (Searching the Academy).) [Available from WorldCat libraries, not from OhioLINK libraries.]
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  18. * Yang, Hsien-yi and Gladys Yang (Translators). 1956a. The Fisherman's Revenge. A Peking Opera. Beijing: Foreign Languages Press. [An English translation of this opera (打渔杀家) is also available in Arlington and Acton (1937).] [THO VCDs (videorecording): Da yu sha jia (打渔杀家). (Note: a.k.a. Qing dingzhu (庆顶珠) / Tao yushui (讨渔税)] [OSU Libraries do not own this book but one OhioLINK library does.]
  19. * Yang, Hsien-yi and Gladys Yang (translators). 1956b. Love Under the Willows: Liang Shan-po and Chu Ying-tai. (A Szechuan Opera). Peking: Foreign Languages Press. (This is the story, "In the Shade of the Willows" (Liu Yin Ji 柳陰記), also known in Chinese operas as the story of "Liang Shanbo and Zhu Yingtai" (Liang Shanbo yu Zhu Yingtai 梁山伯與祝英台), with the English title, "The Butterfly Lovers." Note that in the Sichuan opera version translated here, the two lovers turn into birds, and not the better known ending with transformation into butterflies.)
  20. * Yang, Hsien-yi (= Yang, Xianyi) and Gladys Yang (translators). 1957a. Fifteen Strings of Cash. A Kunchu Opera. Peking: Foreign Languages Press. [THO VCDs (videorecording): Shi wu guan (十五贯)]
  21. * Yang, Hsien-yi (= Yang, Xianyi) and Gladys Yang (translators). 1957b. The White Snake. A Peking Opera. Peking: Foreign Languages Press. [THO VCDs (videorecording): Bai she zhuan (白蛇传)]
  22. * Yang, Hsien-yi and Gladys Yang (translators). 1958. The Forsaken Wife (A Pingju Opera). Peking: Foreign Languages Press. (Translation of Qin Xiang Lian.) [THO VCDs (videorecording): Qin Xianglian (Shou tang . Sha miao . Zha Mei) 秦香莲 (寿堂 . 杀庙 . 铡美). Also: THO VCDs (videorecording): 1955 Pingju opera film version.] [This book is available through WorldCat. OhioLINK libraries do not own a copy.]
  23. * Yung, Bell. 2010. The Flower Princess, A Cantonese Opera by Tong Dik Sang. Translated, edited and introduced by Bell Yung. Assisted in translation by Sonia Ng and Katherine Carlitz. Hong Kong: The Chinese University Press. [This is an English translation of Tang Disheng's most well-known opera, Di Nü Hua (帝女花 'Princess Changping').] [Excerpts: "Introduction" and Act II ("The Calamity").] [Note: OSU's Music Library catalogued the book under the author, "Tang, Disheng".] [This book is available from OSU Libraries and OhioLINK libraries.]
  24. (Opera synopses and short translation excerpts as needed for in-class video-viewing and discussion.)
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SOME SUPPLEMENTARY READINGS AND REFERENCES

(* Opera scripts translated into English)

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  1. Alley, Rewi. 1984. Peking Opera. [Text by Rewi Alley. Pictures by Eva Siao, Weng Naiqiang, Zhang Zudao, Di Xianghua, and Others]. Beijing: New World Press.
  2. Arlington, L. C. (Lewis Charles). 1930. The Chinese Drama from the Earliest Times Until Today. [A panoramic study of the art in China, tracing its origin and describing its actors (in both male and female roles), their costumes and make-up, superstitions and stage slang, the accompanying music and musical instruments, concluding with synopses of thirty Chinese plays, by L.C. Arlington, with a Pien (匾) by Mei Lan-fang and a foreword by H.A. Giles, Ll.d. (Aberdeen).] Shanghai: Kelly and Walsh. [Re-issued in 1966. Bronx, NY: Benjamin Blom, Inc.]
  3. * Arlington, L.C. (Lewis Charles) and Harold Acton (editors and translators). 1937. Famous Chinese Plays. [Illustrated] Peiping (Beijing): Henri Vetch.
  4. * Birch, Cyril (translator). 2002. The Peony Pavilion. Mudan Ting, Second Edition. Translated with a new preface by Cyril Birch. Introduction to the second edition by Catherine Swatek. Bloomington and Indianapolis: Indiana University Press.
  5. * Birch, Cyril (translator and editor). 2001. Mistress & Maid (Jiaohongji). By Meng Chengshun. New York: Columbia University Press. (The full title of the work, translated into English is: The Story of (Wang) Jiao(niang) and (Fei)hong and the Chastity and Integrity in the Mandarin-duck Tomb, or shortened to The Mandarin-duck Tomb, or simply, The Story of Jiao and Hong.)
  6. Bonds, Alexandra B. 2008. Beijing Opera Costumes: The Visual Communication of Character and Culture. Honolulu: University of Hawai'i Press.
  7. * Chang, Donald K. (translator). 1973. "The White Snake" (by Tyan Han). In: Mitchell, John D. (editor). The Red Pear Garden: Three Great Dramas of Revolutionary China. Boston: David R. Godine.
  8. * Chang, Donald K. and John D. Mitchell (translators). 1985. The Fox Cat Substituted for the Crown Prince: A Peking Opera Set in the Song Dynasty. (Translated and adapted by Donald K. Chang and John D. Mitchell.) [Li mao huan tai zi. (Unif title) Libretto. English & Chinese] Midland, MI: Northwood Institute Press.
  9. * Chen, Chih-hsiang and Harold Acton (translators). 1976. The Peach Blossom Fan (T'ao-hua-shan). By K'ung Shang-jen (1648-1718). Translated by Chen Shih-hsiang and Harold Acton, with the collaboration of Cyril Birch. Berkeley, Los Angeles, and London, UK: University of California Press. (Translation of Taohua Shan.)
  10. Chen, Xiaomei. 2002. Acting the Right Part: Political Theater and Popular Drama in Contemporary China. Honolulu: University of Hawai'i Press.
  11. Duchesne, Isabelle (ed.). 2000. Red Boat on the Canal: Cantonese Opera in New York Chinatown. New York, NY: Museum of Chinese in the Americas.
  12. Guy, Nancy. 2005. Peking Opera and Politics in Taiwan. Urbana and Chicago: University of Illinois Press.
  13. Halson, Elizabeth. 1966. Peking Opera: A Short Guide. Hong Kong and New York: Oxford University Press. (This book introduces Beijing opera, including stagecraft, costumes, music, etc., as well as synopses of 15 operas.)
  14. * Hawkes, David (translator). 2003. Liu Yi and the Dragon Princess: A Thirteenth-Century Zaju Play by Shang Zhongxian. Translated and adapted by David Hawkes. Hong Kong: The Chinese University Press.
  15. * Hsiung, S.I. 1936. Lady Precious Stream: An Old Chinese Play Done into English According to Its Traditional Style. Acting Edition. (This Chinese drama was adapted and published in 1934, the year in which it was first staged in London, England. This Acting Edition was first published in June 1938.) London: Methuen & Co. Ltd. [Chinese title of the play: Wang Bao Chuan (王寶釧), a.k.a. Hong Zong Lie Ma (紅鬃烈馬)]
  16. * Hsiung, S.I. (translator). 1936 [1968]. The Romance of the Western Chamber. Reissued in 1968 for the Columbia College Program of Translations from the Oriental Classics. New York and London: Columbia University Press. (Translation of Xixiang Ji.)
  17. Huang, Alexander C. Y. 2009. Chinese Shakespeares: Two Centuries of Cultural Exchange. New York, NY: Columbia University Press.
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  19. Huang, Shang. 1985. Tales from Peking Opera. [Illustrations: Ma De]. Beijing: New World Press. (Narratives of twenty stories from well-known Beijing operas, including: "Beauty Defies Tyranny", "The Pursuit of Han Xin", "The Capture and Release of Cao Cao", "The Ruse of the Empty City", "The Drunken Beauty", "The Fisherman's Revenge", "The Jade Bracelet", "A Startling Dream of Wandering Through the Garden", "The Four Successful Candidates", "Sister Thirteen", etc.)
  20. * Hung, Josephine Huang. 1971. Classical Chinese Plays. Second edition. Taipei: Mei Ya Publications. [Five plays: 1. "The Faithful Harlot" (Yü T'ang Ch'un / Yu Tang Chun); 2. "Two Men on a String" (Feng Yi T'ing / Feng Yi Ting); 3. "Twice a Bride" (Hung Luan Hsi / Hong Luan Xi; a.k.a. Chin Yu Nu / Jin Yu Nu); 4. "One Missing Head" (Chiu Keng T'ien / Jiu Geng Tian); 5. "The Price of Wine" (Mei Lung Chen / Meilong Zhen; a.k.a. Yu Lung Hsi Feng / You long Xi Feng)] (Note: The same five plays are in the first edition, entitled Children of the Pear Garden: Five Plays from the Chinese Opera, and published in 1961 in Taipei by Heritage Press.)
  21. * Hung, Josephine. 1974. The Jewel Bag: A Chinese Classical Play. [A Traditional Chinese Play Translated and Adapted with an Introduction and Stage Directions.] Taipei: Mei Ya Publications, Inc. [THO VCDs (videorecording): Suo lin nang (锁麟囊)] [This book is available through WorldCat. OhioLINK libraries do not own a copy.]
  22. * Hung, Josephine Huang. 1981. For Love and Justice: Chuan Chiao Chi Yuan. Translated, adapted and annotated by Josephine Huang Hung. Taipei: Mei Ya Publications, Inc. [Note: Scenes 3 and 4 (minus the mother) of this full-length Beijing opera (雙姣奇緣 / 法門寺) is often performed as a short, stand-alone opera, "Picking Up the Jade Bracelet" (拾玉镯). See Scott (1975), "Picking Up the Jade Bracelet."]
  23. * Hung, Josephine Huang. 1993. A Handful of Snow: A Traditional Chinese Play. Translated, adapted, and annotated, with an introduction, by Josephine Huang Hung. Taipei, Taiwan: Published by arrangement with Zhong Hwa Book Co.; Miami, Fla.: Meiya. [Yi p'ung hsueh (yi peng xue) 一捧雪, Li Yu 李玉.]
  24. Johnson, Elizabeth Lominska. 1996. Cantonese opera in its Canadian context: The contemporary vitality of an old tradition. Theatre Research in Canada / Recherches Théâtrales au Canada 17.1.24-45.
  25. Johnson, Elizabeth Lominska. 1997. Cantonese opera costumes in Canada. Arts of Asia 27.1.112-125. [Note: In 1994-1995, a travelling exhibition, A Rare Flower: A Century of Cantonese Opera in Canada, which was organized by Dr. Elizabeth Johnson (Museum of Anthropology (MOA), University of British Columbia, in Vancouver, Canada), showcased a selection of costume pieces from MOA's collection of Cantonese opera costumes and accessories. The collection, one of the largest and oldest in the world, comprises more than 500 pieces that were preserved by Vancouver's Jin Wah Sing Musical Association. The collection — donated in large part by Jin Wah Sing, with additional pieces purchased by MOA — provides a rare glimpse into the history of Cantonese opera as an important performing art form among the Chinese in Canada from the 1880s until today. Some photos taken in summer 2006 from the MOA's collection (with Dr. Johnson's permission) will be presented in class during the semester.]
  26. Kuang, Rong. 1982. Fifteen Strings of Cash. [Adapted by Kuang Rong; drawings by Wang Hongli; Shi wu guan. English & Chinese (unif title)] Beijing: Foreign Languages Press.
  27. Lee, Tong Soon. 2009. Chinese Street Opera in Singapore. Urbana and Chicago: University of Illinois Press.
  28. Lei, Daphne Pi-Wei. 2006. Operatic China: Staging Chinese Identity Across the Pacific. New York: Palgrave Macmillan.
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  30. Leung, George Kin. 1929. Mei Lan-fang, Foremost Actor of China. Shanghai: Commercial Press, Limited. [Includes information on stagecraft.]
  31. Li, Nianpei. 1987. Old Tales of China: A Book to Better Understanding of China's Stage, Cinema, Arts and Crafts. Illustrated by Pang Xiquan, Sun Yizeng and Li Binsheng. Singapore: Graham Brash Ptd Ltd. (1981 edition was published by China Travel and Tourism Press, and the 1982 edition by The Commercial Press.) (This book contains 40 synopses from Chinese opera, plus plots in Chinese opera that are based on scenes from A Dream of Red Mansions (Hong Lou Meng), and stories from The Romance of the Three Kingdoms (San Guo Yanyi), Water Margin (Shui Hu Zhuan), Pigrimage to the West (Xi You Ji), and The Yang Family of Generals (Yang Jia Jiang).)
  32. Li, Nianpei (translator and editor). 1988. The Beating of the Dragon Robe: A Repertoire of Beijing Opera Synopses of 100 Most Popular Pieces. Illustrated by Dong Chensheng. Co-published by Joint Publishing (H.K.) Co., Ltd., Hong Kong, and China Travel and Tourism Press, Beijing.
  33. * Li, Shau Chwun. 1976. Wild Boar Forest. [Annotated and Edited by Donald Chang and John D. Mitchell.] Midland, MI: Northwood Institute. (This is an introduction to one of the best known Beijing operas, and is intended for American learners of Chinese. The textbook uses Simplified Chinese characters and provides Yale romanization and English glosses in the vocabulary items placed as footnotes on the page for easy reference. The book also provides information on the opera (viz., brief introduction to Beijing opera, synopsis of the opera, and the characters in the opera, the protagonist being Lin Chong, one of the heroes of beloved novel, The Water Margin (a.k.a. Outlaws of the Marsh and All Men are Brothers). An English translation of the opera is also available; see reference below to Mitchell (1973).)
  34. Li, Siu Leung [Edward Siu-leung]. 2003. Cross-Dressing in Chinese Opera. Hong Kong: Hong Kong University Press.
  35. Li, Xiao (李晓). 2005. Chinese Kunqu Opera (中国昆曲). Translated into English by Li Li and Liping Zhang. South San Francisco: Long River Press; Shanghai: Shanghai Press and Pub. Dev. Co. (The original 2004 Chinese edition was published by Shanghai's Baijia Chubanshe.) (History of kunqu opera from the early 14th century to the present, with numerous b/w and color photos.)
  36. Lowe, H. Y. 1942. Stories from Chinese Drama. With illustrations by the author. Peking (Beijing): Peking Chronicle Press. (This voluminous work (with close to a total of 500 pages, including introduction, index, etc.) narrates the plots of 202 of the most well-known Beijing operas. Opera titles are given in Chinese characters and in English translation.)
        [Note: This book was re-published later in Taiwan under a different author, a slightly different title, and a different publisher, with no apparent acknowledgment of the true source of the work: Gee, Tom. 1978. Stories of Chinese Opera. Taipei: Liberal Arts Press.]
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  38. * Lu, Lisa (translator). 1980. The Romance of the Jade Bracelet and Other Chinese Operas. Freely translated by Lisa Lu, with an Appreciation by Harold Acton and a Foreword by S.I. Hsiung. San Francisco: Chinese Materials Center, Inc.
  39. Ma, Haili. 2012. Yueju - The Formation of a Legitimate Culture in Contemporary Shanghai. Culture Unbound 4.213-227.
  40. * Ma, Qian (translator). 2005. Women in Traditional Chinese Theater: The Heroine's Play. Lanham, MD: University Press of America. [Six plays including "Injustice to Dou E" (Dou E Yuan), "Mu Lan" (Ci Mulan) and "The Girl Who Marries a Princess" (Nü Fuma), the latter a huangmei opera.]
  41. Mackerras, Colin. 1975. The Chinese Theatre in Modern Times: From 1840 to the Present Day. London: Thames and Hudson, Ltd.
  42. Mackerras, Colin. 1990. Chinese Drama: A Historical Survey. Beijing: New World Press. [OSU Libraries do not own a copy, but 2 other OhioLINK libraries have it.]
  43. Mackerras, Colin. 1997. Peking Opera. [Images of Asia series.] Hong Kong: Oxford University Press (China) Ltd. (This is a brief introduction to Beijing opera and is intended for the general reader. It contains some historical color photos and includes a final chapter, "How is the Peking Opera Doing Nowadays," updating information that is in his (1975) book.)
  44. * Mitchell, John D. (editor). 1973. The Red Pear Garden: Three Great Dramas of Revolutionary China. Boston: David R. Godine. [Includes: "The White Snake" (Bai She Zhuan) (by Tyan Han, and translated by Donald Chang) and "The Wild Boar Forest" (Ye Zhu Lin) (by Li Syau Chwun, and translated by John D. Mitchell and Donald Chang),]
  45. * Mulligan, Jean. 1980. The Lute. Kao Ming's P'i-p'a chi. New York, NY: Columbia University Press. (Translation of Pipa Ji.)
  46. Pan, Xiafeng. 1995. The Stagecraft of Peking Opera: From Its Origins to the Present Day. Beijing: New World Press.
  47. Regional Council, Hong Kong. 1988. Yue Ju Fu Shi [粵劇服飾]. (= Costumes of Cantonese Opera). Hong Kong: Regional Council, Hong Kong. (Exhibition catalogue with Chinese-English bilingual text; preface by the Curator, Regional Council Museums, Hong Kong.)
  48. Scott, A. C. 1958. An Introduction to the Chinese Theatre. With drawings by the author. Singapore: Donald Moore. (Includes techniques and other stagecraft, and narratives of twenty plays.)
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  50. * Scott, A. C. 1967. Traditional Chinese Plays. Volume 1. Madison, WI: University of Wisconsin Press. [Two plays: "Ssu Lang Visits his Mother" (Ssu Lang T'an Mu / Si Lang Tan Mu) and "The Butterfly Dream" (Hu Tieh Meng / Hudie Meng)]
  51. * Scott, A. C. 1969. Traditional Chinese Plays. Volume 2. Madison, WI: University of Wisconsin Press. [Two plays: "Longing for Worldly Pleasures" (Ssu Fan / Si Fan) and "Fifteen Strings of Cash" (Shih Wu Kuan / Shi Wu Guan)]
  52. * Scott, A. C. 1975. Traditional Chinese Plays. Volume 3. Madison, WI: University of Wisconsin Press. [Two plays: "Picking Up the Jade Bracelet" (Shih yü-cho / Shi Yuzhuo) and "A Girl Setting Out for Trial" (Nü ch'i-chieh / Nü Qijie).] [THO VCDs (videorecording): Shi yu zhuo, fa men si (拾玉镯, 法门寺) — Nü qi jie (女起解) / Yu tang chun (玉堂春)] [OSU Libraries and over 30 other OhioLINK libraries have volumes 1 through 3.]
  53. Scott, A. C. 1983. The Performance of Classical Theater. In: Colin Mackerras (editor), Chinese Theater: From Its Origins to the Present Day. Honolulu: University of Hawaii Press. Pages 118-144. [OSU Libraries have 4 copies; 27 other OhioLINK libraries have copies. Three other OhioLINK libraries have a 1988 edition.]
  54. * Shih, Chung-wen. 1972. Injustice to Tou O (Tou O Yüan): A Study and Translation. By Hanqing Guan. Cambridge, UK: Cambridge University Press.
  55. Siu, Wang-Ngai (with Peter Lovrick). 1997. Chinese Opera: Images and Stories. Vancouver, Canada: UBC Press; Seattle: U. of Washington Press.
  56. Stock, Jonathan P.J. 2003. Huju: Traditional Opera in Modern Shanghai. Oxford, UK: Oxford University Press. (Published for The British Academy.)
  57. Sun, Jie. 2000. Peking Opera Painted Faces — With Notes on 200 Operas. [Text by Zhao Menglin and Yan Jiqing. Drawings by Zhao Menglin]. Fourth edition. Beijing: Morning Glory Publishers. [Illustrations of the painted faces and the notes on the operas are online at Peking Opera Masks]
  58. Tan Gudnason, Jessica and Li Gong. 2001. Chinese Opera. New York: Abbeville Press. (Photographs by Jessica Tan Gudnason; text by Li Gong (the actress in such well-known films as Farewell My Concubine and The Emperor and the Assassin). This is mainly a "coffee-table" book that consists of illustrations — mostly close-ups (for a detailed look at the make-up and headdress) and portraits of performers in their colorful and elaborate costumes; performers are from Peking and Cantonese opera troupes as well as all-female, Wu-dialect Yue opera troupes from Shanghai.)
  59. Thorpe, Ashley. 2007. The Role of the Chou ("Clown") in Traditional Chinese Drama: Comedy, Criticism, and Cosmology on the Chinese Stage. Lewiston, NY and Queenston, Canada: Edwin mellen Press.
  60. * Wang, Ben. 2009. Laughter and Tears: Translation of Selected Kunqu Dramas. Beijing: Foreign Languages Press. [Note: A request has been submitted to OSU Libraries to purchase this book.]
  61. * Wang, Elizabeth Te-Chen. 1971. Snow Elegant. A Chinese Classical Play. Translated and Adapted by Elizabeth Te-Chen Wang from the Opera "Feng Huan Ch'ao" (Feng Huan Chao) by Chi Yu-shan. Taipei: Mei Ya Publications, Inc.
  62. * West, Stephen H. and Wilt L. Idema (editors and translators). 1995. The Story of the Western Wing. By Wang Shifu. (A 100-page introduction by Stephen H. West and Wilt L. Idema.) Berkeley, Los Angeles, and London, UK: University of California Press. (Translation of Xixiang Ji.)
  63. * West, Stephen H. and Wilt L. Idema. 2010. Monks, Bandits, Lovers, and Immortals: Eleven Early Chinese Plays. Edited and translatted, with an introduction, by Stephen H. West and Wilt L. Idema. Indianapolis: Hackett Publishing Company, Inc.
  64. Wichmann, Elizabeth. 1991. Listening to Theatre: The Aural Dimension of Beijing Opera. Honolulu: University of Hawaii Press.
  65. Wu, Zuguang, Zuolin Huang, and Shaowu Mei. 1981. Peking Opera and Mei Lanfang: A Guide to China's Traditional Theatre and the Art of its Great Master. Beijing: New World Press. (Includes an Appendix: Synopses of 25 Beijing operas.)
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  67. Xu, Chengbei. 2003. Peking Opera. [Cultural China Series.] (Translated by Chen Gengtao; fully illustrated with historical photos and color photos.) San Francisco: Long River Press.
  68. Xu, Chengbei. 2005. An Afternoon Tea of Beijing Opera Tidbits. [Cultural China Series.] (Translated from the Chinese by Yawtsong Lee; fully illustrated with color photos.) San Francisco: Long River Press.
  69. * Yang, Gladys (translator). 1958. The Runaway Maid (A Cantonese Opera). [Revised by the Cantonese Opera Company of Kwangtung] Peking: Foreign Languages Press. (Translation of Sou Shuyuan (Searching the Academy).)
  70. * Yang, Hsien-yi (= Yang, Xianyi) and Gladys Yang (translators). 1956a. The Fisherman's Revenge. A Peking Opera. Peking: Foreign Languages Press.
  71. * Yang, Hsien-yi (= Yang, Xianyi) and Gladys Yang (translators). 1956b. Love Under the Willows (A Szechuan Opera). (Unif Title: Liang Shan-po yü Chu Ying-t'ai) Peking: Foreign Languages Press.
  72. * Yang, Hsien-yi (= Yang, Xianyi) and Gladys Yang (translators). 1957a. Fifteen Strings of Cash. A Kunchu Opera. Peking: Foreign Languages Press.
  73. * Yang, Hsien-yi (= Yang, Xianyi) and Gladys Yang (translators). 1957b. The White Snake. A Peking Opera. Peking: Foreign Languages Press.
  74. * Yang, Hsien-yi (= Yang, Xianyi) and Gladys Yang (translators). 1962. Third Sister Liu (An Opera in Eight Scenes). Peking: Foreign Languages Press. (This is a caidiao (color tune) opera from northern Guangxi based on a Zhuang minority folk legend. It was revised and made into a film in 1959. In addition, there is a 1978 film version that reflects the opera much more closely.)
  75. * Yang, Xianyi and Gladys Yang (translators). 1955/1980. The Palace of Eternal Youth. By Hong Sheng. First Edition: 1955; second edition: 1980. Beijing: Foreign Languages Press. (Translation of Changsheng Dian.)
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  77. Ye, Tan. 2008. Historical Dictionary of Chinese Theater. [Historical Dictionaries of Literature and the Arts, No. 27] Landham, Maryland; Toronto; Plymouth, UK: The Scarecrow Press, Inc. [Note: This hardcover book has the same content as the paperback edition, published by Scarecrow Pressr and sporting a different title, The A to Z of Chinese Theater, and placed in a different series, The A to Z Guide Series, No. 182.]
  78. Yeh, Catherine Vance. 2004. Where is the Center of Cultural Production? The Rise of the Actor to National Stardom and the Beijing / Shanghai Challenge (1860s-1910s). Late Imperial China 25.2.74-118. [E-journal article]
  79. Yim, Shui-yuen (editor). 1989. Yue Ju Bai Nian Tui Bian [粵劇百年蜕變] (= A Century of Cantonese Opera). Hong Kong: Regional Council, Hong Hong Kong. (Exhibition catalogue with Chinese-English bilingual text.)
  80. * Yu, Shiao-ling S. (Editor and translator). 1996. Chinese Drama after the Cultural Revolution, 1979-1989: An Anthology. Eited and translated, with an introduction by Shiao-Ling S. Yu. Lewiston, NY: Edwin Mellen. (In addition to spoken drama, the book contains new versions of two traditional operas.)
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  82. Yung, Bell. 1989. Cantonese Opera: Performance as Creative Process. Cambridge: Cambridge University Press.
  83. Zung, Cecilia S. L. 1937. Secrets of the Chinese Drama: A Complete Explanatory Guide to Actions and Symbols as Seen in the Performance of Chinese Dramas. [With Synopses of Fifty Popular Chinese Plays and 240 Illustrations]. Shanghai: Kelly and Walsh. [Re-issued in 1964. New York: Benjamin Blom.]
  84. Note:   In Hong Kong, some of the well-known Chinese operas were transported from the stage to the film studio in the mid-1950's to the 1970's by Shaw Brothers. The Shaw productions were huangmei (yellow plum) opera films that had wide appeal; they were in color, with Mandarin Chinese dialogues and singing using popular film stars, and contained English and Chinese subtitles. During the first decade of the new century, many of Shaw Brothers huangmei opera films were remastered. These include The Story of Sue San (Yu Tang Chun), Return of the Phoenix (Feng Huan Chao), The Kingdom and the Beauty (Jiangshan Meiren), The Love Eterne (Liang Shanbo yu Zhu Yingtai), Madam White Snake (Bai She Zhuan), The Bride Napping (Hua Tian Cuo), The Mermaid (Yu Meiren), Lady General Hua Mu-lan (Hua Mulan), The Crimson Palm (Xie Shou Yin), The Female Prince (Shuang Feng Qi Yuan), The Grand Substitution (Wan Gu Liu Fang (i.e., The Orphan of the Zhao Family)), The Butterfly Chalice (Hudie Bei), etc. Before shifting entirely to martial arts films, Shaw Brothers also experimented with a few other regional opera styles, such as their 1977 remake of The Dream of the Red Chamber (Jinyu Liangyuan Hongloumeng) and their still more adventuresome, 1976 opera film, Farewell to a Warrior (Ci Lang Zhou), which was produced in the Chaozhou (Southern Min) dialect.

    Hong Kong also produced an enormous quantity of Cantonese opera films (mainly in black and white, with no subtitles or subtitles for the arias only) that targeted the local Cantonese-speaking population, particularly just after WWII. In the 1950's alone, over 500 opera films were produced, constituting a third of Hong Kong's total production of films in Cantonese. (Source: Cantonese Opera Film Retrospective, revised edition, 2003).

    sister 13

    The People's Republic of China have also produced quite a few traditional Chinese opera films that include regional forms, some of which are available from the Thompson (Main) Library in VCD format. (In other words, both videorecordings of stage performances and film productions of Chinese operas are available from Thompson Library. The Chinese opera video collection was built up over the past few years by our Chinese Studies Librarian, Professor Guoqing Li, to support Ohio State teaching and research, including the offering of this Chinese Opera course in Winter Quarter 2005, the impetus for the development and growth of this video collection.)

    In addition, over the years, there has been tremendous interest in making Chinese operas available for viewing online, including not only Peking and Kunqu operas, but numerous regional operas as well, including the three varieties studied here: Zhejiang Yue opera (越劇), Huangmei opera (黃梅戲), and Guangdong Yue opera (粵劇). There is now a growing repertoire of Chinese opera performances produced by CCTV that is available online, with Chinese subtitles for both spoken and sung lines. Still very rare are videos of operatic performances that include English subtitles that can reach a still broader audience.

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SOME ONLINE RESOURCES

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grey linecardinal To cite this page:
Marjorie Chan's Chinese 5474: Chinese Opera (Spring Semester 2013)
<http://people.cohums.ohio-state.edu/chan9/c5474.htm> [Accessed   <DATE> ]

Originally created on 23 October 2004 under the course numbering, Chinese 674, for Winter Quarter 2005 for the first offering of the course by the current instructor, with the most recent major revision on 24 November 2013 for Spring Semester 2013 under the new course numbering, Chinese 5474.
MC behind cardboard costume Last update: 30 March 2013.

The Chinese 5474 logo at the top of this course syllabus is a scene from a Beijing opera, Zhao Shi Gu'er (趙氏孤兒 'Orphan of the Zhao Family'). The small, whimsical brush paintings on this webpage, by Ma De (高马得), depict scenes from several different Beijing operas. They were scanned and prepared for this course syllabus from two books: Peking Opera (1984) and Shang Huang's Tales from Peking Opera (1985), both published by New World Press, Beijing, China. Additional images prepared for Spring 2013 are from the Cultural China - Opera site. Peking Opera (1984) is also the source for the photograph of the hegemon king, Xiang Yu (a painted face role), in Bawang Bie Ji (霸王别姬 'Farewell My Concubine'). The images of the textbbook covers had also been scanned for this course syllabus. The grey papercut of a general in battle gear, used as background, was prepared from a color papercut at <flickr.com>.

Copyright © 2004-201x Marjorie K.M. Chan. All rights reserved on course syllabus and on-line materials developed for the course. If you have difficulty accessing any portion of this web page or need the information in an alternative format, please contact the instructor at <chan.9at.symbolosu.edu>.

URL:     http://people.cohums.ohio-state.edu/chan9/c5474.htm
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