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AUTUMN QUARTER 2007 Chinese 674 CHINESE OPERA Professor Marjorie K.M. Chan Dept. of East Asian Langs. & Lits. The Ohio State University Columbus, OH 43210 U.S.A.

COURSE:	Chinese 674. Chinese Opera Call No. & Credit Hours:   05013-0   5 credits.   U G Prerequisites:   No prerequisites Course page:   http://people.cohums.ohio-state.edu/chan9/c674.htm
TIME & PLACE:	F     01:30 - 4:18 p.m. 045 Hagerty Hall (1775 College Road) (multimedia classroom with computer and internet connection)
OFFICE HOURS:	T   1:00 - 3:00 p.m. (from Week 2), or by appointment Office:   362 Hagerty Hall   (1775 College Road) Tel:        292.3619   (292.5816 for messages, 292.3225 for faxes) E-mail:   chan.9 @osu.edu   (close the gap)
MC's Home Page: MC's ChinaLinks:	people.cohums.ohio-state.edu/chan9 ChinaLinks.osu.edu

TEXTBOOKS

1. Xiao, Xiaoming (chief editor). 2002. Fascinating Stage Arts. Beijing: Foreign Languages Press. [Paperback; ISBN: 7-119-03053-1] Required. To be available from SBX (1806 N. High Street, (Tel) 291.9528).
2. Yi, Bian (compiler). 2005. Peking Opera: The Cream of Chinese Culture. Beijing: Foreign Languages Press. [Paperback; ISBN: 7-119-03697-1] Note: This was required, but it is apparently out of print. Locate and purchase a copy from online book vendors (they may have limited copies) or use the library copy placed on 2-hour loan at Sullivant (Main) Libary Reserve. (Please take very good care of the library copy!)
3. Additional Readings and Other Resources:
   These will be made available during the quarter. (See Readings list.)

Sullivant (Main) Library Reserve and Electronic Reserves:
Library books that contain the required readings, as well as the two textbooks, are placed on Reserve (2-hour loans) at Sullivant (Main) Library. (Note: Reserved materials for a given course are listed online for the current quarter only.) A number of reference books are also on Reserve at Sullivant (Main) Library. Additional required readings in PDF format from E-Reserve and other sources will be made available in Carmen.

Note: The William Oxley Thompson Library — a.k.a. “Main Library” — is currently under renovation. Main Library Reserve is now housed in Sullivant Library, serving as the temporary Main Library. For where collections are stored during this three-year renovation project beginning in Autumn Quarter 2006, consult the Ohio State University Libraries for changes and updates. 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 674. 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.

COURSE DESCRIPTION

An introduction to Chinese opera as traditional culture, dramatic literature, and performing art; study of select plays and recorded stage performances; multimedia-based, illustrated discussions of various aspects of the theatre.

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 the most famous, and preeminent, form of Chinese opera today is Peking opera (Beijing opera), other forms — including Kunqu and various regional operas — will also be introduced for comparison and analysis. The course will explore Chinese opera and its historical roots — in both popular and elite culture — as well as various aspects of stagecraft (including music, singing, face-painting, gestures, props, etc.) through reading and examination of some representative operas and their performances.

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.

COURSE CONTENT

This course studies the origins of Chinese opera, 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 among the nearly 400 different regional operas sung in local dialects, 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. 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.

The course takes a theme-based organization of the Chinese opera stories in introducing stage productions not only from Peking opera, but also from Kunqu and some regional varieties (Yue opera (Zhejiang Province), Cantonese opera, huangmei (yellow plum) opera, Ping opera (sung in colloquial Mandarin), Chaozhou opera, etc.). As Chinese opera plots are traditionallly 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 Professor David Ch'en, who had taught this course regularly before his retirement.

This course will be conducted through lectures, discussion of readings, viewing and discussion of video resources, individual and small-group assignments in class, and students' presentation of 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.

STUDENT RESPONSIBILITIES

1. Read and reflect on all assigned readings prior to class lectures and discussion.
2. Attend class regularly, and participate actively in class discussions of readings (including in-class reading of plots and synopses) and videorecorded materials.
3. Submit three take-home assignments and a final project.¹

   ¹The three assignments are reaction papers and critical analyses based primarily on the textbooks, readings, and videorecordings. The assignments (each about 3-4 double-spaced pages in length, not including images (if any) and references) are to be submitted in hardcopy format in class, with a digital version (e.g., DOC, RTF, PDF, HTML) uploaded to the Dropbox in Carmen.

4. For the final project:
   1. Turn in a one-page, double-spaced, project proposal with select references by Week 7. Submit a digital copy to the Dropbox for the course at Carmen.osu.edu.
   2. Present an oral version of the final project (in PowerPoint or multimedia format) at the end of the quarter. Submit the digital file to the Dropbox at Carmen, or on CD/DVD disc if the file is large.
   3. For research papers, submit the paper in hardcopy and digital format (about 12 double-spaced pages (or about 10 double-spaced pages for undergraduate students), not including references and images, if any). Submit a digital copy to the Dropbox at Carmen, or on CD/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, such as producing a short documentary film or some other form of multimedia project, or a performance-based project, consult with the instructor to work out details for grade assignment for the project.)

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 quarter.

GRADING

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

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

SCHEDULE

Classes are held on Fridays, with class time divided into Part A and Part B.
This is a preliminary schedule. Activities and readings may be revised when the quarter begins.
Opera selections may be modified subject to class interest and availability of videos and English translations.

WEEK 1.   INTRODUCTION TO CHINESE OPERA

9/21 - Part A:   Orientation and Introduction What is Chinese "opera"? How are traditional Chinese operas (plays, drama) similar to (or different from) western operas? Western adaptations of Chinese drama The Chinese stage, entrances and exits, etc. Pantomime, dance, acrobatics, martial arts skills, etc. in Chinese opera Video & Discussion: What is Chinese Opera? A Primer to Peking Opera

9/21 - Part B:   Historical Background Lecture: Historical Introduction to China's Dramatic Tradition Synopses of some Chinese drama/operas from Yuan drama, Kunqu, Peking opera, regional opera, etc. (e.g., Orphan of the Zhao Family, Peony Pavilion, Romance of the Western Chamber, The Fisherman's Revenge, The Perfume Handkerchief, etc.), and some video clips for viewing and discussion Background Reading: Xiao (2002), Ch. I & II Mackerras (1990), Ch. I-IV Goldstein (2007), "Introduction"

WEEK 2.   PEKING OPERA: LATE QING TO REPUBLICAN ERA
9/28 - Part A: Readings & Discussion Yeh (2004) Goldstein (2007), Ch. 1	9/28 - Part B: Readings, Video & Discussion Video excerpts for viewing and discussion Due: Assignment 1

WEEK 3.   REGIONAL/NATIONAL OPERA & GENDER-BENDING
10/05 - Part A: Readings & Discussion Xiao (2002), Ch. IV Siu (1997), Ch. 2 Duchesne (2000) (optional) Discussion on regional opera traditions, North American context, etc. Video excerpts, synopses, etc.	10/05 - Part B: Video & Discussion Goldstein (2007), Ch. 7 Video excerpts: Documentaries on the training of performers and their lives (e.g., Mei Lanfang, Cheng Yanqiu, etc.)

WEEK 4.   CHINESE OPERA STAGECRAFT
10/12 - Part A: Readings, Video & Discussion Scott (1983) Xiao (2002), Ch. III & V Read Yi (2005) (Note: These readings will also serve as reference sources during the quarter.)	10/12 - Part B: Readings, Video & Discussion Video excerpts for viewing and discussion

WEEK 5.   THEME 1 — VENGEANCE & RIGHTEOUSNESS
10/19 - Part A: Readings, Video & Discussion Yang and Yang (1956), The Fisherman's Revenge Discussion in conjunction with video excerpts from this Peking opera	10/19 - Part B: Video & Discussion Synopses of some representative operas and video clips for viewing and discussion Double Ninth Festival (重陽節) Due: Assignment 2

WEEK 6.   THEME 2 — FLIRTING & COURTSHIP
10/26 - Part A: Readings, Video & Discussion Scott (1975), Picking Up the Jade Bracelet Hung (1971), The Price of Wine Discussion in conjunction with video excerpts in Peking opera and regional opera versions	10/26 - Part B: Video, Discussion & Other Activities Synopses from some representative operas and video excerpts for viewing and discussion
10/26 - 5:30 p.m. 180 Hagerty Hall. Free admission. Sponsored by the Institute of Chinese Studies. The Lost Kingdom - Kung Yue Society (Dir. Hsiang-Hsiu Lee, 1999, Mandarin/Taiwanese with English subtitles, 98 min, b&w/color, DVD) This award-winning film reconstructs the history of the "Kung Yue Society", a well known koa-a-hi (Taiwanese Traditional Opera) troupe, whose popularity and gradual falling into oblivion not only reflects the history of Taiwanese opera after 1945, but also symbolizes the loss of cultural traditions experienced by Taiwan in the last few decades.

WEEK 7.   THEME 3 — COURT TRIALS & THE QUEST FOR JUSTICE
11/02 - Part A: Readings, Discussion, Etc. Scott (1975), A Girl Setting Out for Trial (Suppl. reading: Hung (1971), The Faithful Harlot (Yu Tang Chun)) Scott (1969), Fifteen Strings of Cash Discussion in conjunction with video excerpts from the two operas	11/02 - Part B: Video and Discussion Regional varieties and film adaptations of the two operas, and video excerpts for viewing and discussion Synopses from some other representative operas and video excerpts for viewing and discussion Due: One-page project proposal and select references

WEEK 8.   THEME 4 — VIRTUOUS DEEDS & LOYALTY
11/9 - Part A: Reading, Discussion, Etc. Hung (1974), The Jewel Bag Dolby (1978), Hegemon King Says Farewell to His Queen Discussion in conjunction with video excerpts from the opera and from film adaptations	11/09 - Part B: Discussion & Other Activities Synopses from some representative operas and video excerpts for viewing and discussion

WEEK 9.   THEME 5 — BEAUTY TRAPS & POLITICAL STRATAGEMS
11/16 - Part A: Discussion & Other Activities Hung (1971), Two Men On a String     (Lü Bu and Diao Chan, Phoenix Pavilion,     A Stratagem of Interlocking Rings) Lecture and Discussion: Opera plots and stories from the novel, Romance of the Three Kingdoms Discussion in conjunction with video excerpts from the opera and from film adaptations	11/16 - Part B: Discussion & Other Activities Synopses from some representative operas and video excerpts for viewing and discussion Due: Assignment 3

WEEK 10.   (NO CLASS)
11/23 Columbus Day observed   (11.22: Thanksgiving Day - no classes)

WEEK 11.   FINAL WEEK ACTIVITIES
11/30 - Last Day of Class Student Presentations and Other Class Activities

WEEK 12.   EXAM WEEK
Due: Final Project — Wednesday, 5 December 2007, 12:00 noon (Note: Request for extension must be made by the start of Week 11.)

READINGS

1. Xiao, Xiaoming (chief editor). 2002. Fascinating Stage Arts. Beijing: Foreign Languages Press.
2. Yi, Bian (compiler). 2005. Peking Opera: The Cream of Chinese Culture. Beijing: Foreign Languages Press.

Readings for this quarter's offering of Chinese 674 that are in PDF format and prepared by Ohio State Libraries' E-Reserve will be available at Carmen. Other course readings are on 2-hour loan from Sullivant (Main) Library or downloadable as e-journal articles. For materials on Reserve at Sullivant (Main) 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 674. To retrieve e-journal articles, go to EJC: OhioLINK Electronic Journal Center and conduct a simple search for the title of the e-journal, the author's name, or the title of the article. A more efficient method would be to select "All Search Options" and conduct an advanced (boolean) search; that is, conduct a search for a specific e-journal title AND the name of a specific author (i.e., limiting the search to a specific author within a specific e-journa), or conduct a search for a specific e-journal title AND the title of the specific article (i.e., limiting the search to a specific article title within a specific e-journal).

1. * 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'). Peking Opera: Version by Mei Lanfang (1894-1961), pages 111-137.] [SUL VCDs (videorecording): Ba wang bie ji (霸王别姬)]
2. Goldstein, Joshua. 2007. Drama Kings: Players and Publics in the Re-creation of Peking Opera, 1870-1937. Berkeley: University of California Press. [Excerpts: Chapter 1. "Late Qing Institutions of Peking Opera" and Chapter 7. "The Gendering of National Culture, Or, The Only Good Woman Is a Man"]
3. * Hung, Josephine Huang. 1971. Classical Chinese Plays. Second edition. Taipei: Mei Ya Publications. [Excerpts: "The Price of Wine" (Mei Lung Chen / Meilong Zhen; a.k.a. Yu Lung Hsi Feng / You long Xi Feng), "The Faithful Harlot" (Yü T'ang Ch'un / Yu Tang Chun), and "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.) [SUL VCDs (videorecording): Mei long zhen (梅龙镇) / You long xi feng (游龙戏凤) — Yu tang chun (玉堂春) / Nv qi jie (女起解) / San tang hui shen (三堂会审) — Lv Bu yu Diao Chan (吕布与貂蝉)]
4. * 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. [Excerpt: Scenes 5 through 9.] [SUL VCDs (videorecording): Suo lin nang (锁麟囊)]
5. 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"; Chapter IV. "The Pihuang System and the Peking Opera, Eighteenth-Nineteenth Centuries".]

6. * Scott, A. C. 1969. Traditional Chinese Plays. Volume 2. Madison, WI: University of Wisconsin Press. [Excerpt: Scenes 4-8 from the Kunqu opera, "Fifteen Strings of Cash" (Shih Wu Kuan / Shi Wu Guan)] [SUL VCDs (videorecording): Shi wu guan (十五贯)]

7. * Scott, A. C. 1975. Traditional Chinese Plays. Volume 3. Madison, WI: University of Wisconsin Press. [Excerpts: "Picking Up the Jade Bracelet" (Shih yü-cho / Shi Yuzhuo) and "A Girl Setting Out for Trial" (Nü ch'i-chieh / Nü Qijie).] [SUL 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)]
8. 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.
9. 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".]
10. * Yang, Hsien-yi and Gladys Yang (Translators). 1956. The Fisherman's Revenge: A Peking Opera. Beijing: Foreign Languages Press. [An English translation is also available in Arlington and Acton (1937).] [SUL VCDs (videorecording): Da yu sha jia (打渔杀家). (Note: a.k.a. Qing dingzhu (庆顶珠) / Tao yushui (讨渔税)]
11. 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]
12. (Short opera synopses to be selected from online and published sources.)

SOME SUPPLEMENTARY READINGS AND REFERENCES

(* Opera scripts translated into English)

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. * 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.
5. Duchesne, Isabelle (ed.). 2000. Red Boat on the Canal: Cantonese Opera in New York Chinatown. New York, NY: Museum of Chinese in the Americas.
6. Guy, Nancy. 2005. Peking Opera and Politics in Taiwan. Urbana and Chicago: University of Illinois Press.
7. * 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)]
8. Huang, Shang. 1985. Tales from Peking Opera. [Illustrations: Ma De]. Beijing: New World Press. (Narratives of twenty stories from well-known Peking 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.)
9. * 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.)
10. 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.
11. 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 quarter.]
12. 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.
13. Leung, George Kin. 1929. Mei Lan-fang, Foremost Actor of China.. Shanghai: Commercial Press, Limited. [Includes information on stagecraft.]
14. 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).)
15. 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.
16. * 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 Peking 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 Peking 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).)
17. Li, Siu Leung [Edward Siu-leung]. 2003. Cross-Dressing in Chinese Opera. Hong Kong: Hong Kong University Press.
18. Lowe, H. Y. 1942. Stories from Chinese Drama. With illustrations by the author. Peking (Beijing): Peking Chronicle Press. (This voluminous work (with close to 500 pages, including introduction, index, etc.) narrates the plots of 202 of the most well-known Peking operas. Opera titles are given in Chinese characters and in English translation.)
19. * 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.]
20. Mackerras, Colin. 1975. The Chinese Theatre in Modern Times: From 1840 to the Present Day. London: Thames and Hudson, Ltd.
21. Mackerras, Colin. 1997. Peking Opera. [Images of Asia series.] Hong Kong: Oxford University Press (China) Ltd. (This is a brief introduction to Peking 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.)
22. * Mitchell, John D. 1973. The Red Pear Garden: Three Great Dramas of Revolutionary China. Boston: David R. Godine. {Includes: "The White Snake" (Bai She Zhuan) and "The Wild Boar Forest" (Ye Zhu Lin)]
23. Pan, Xiafeng. 1995. The Stagecraft of Peking Opera: From Its Origins to the Present Day. Beijing: New World Press.
24. * 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)]
25. * 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)]
26. 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.
27. 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.)
28. * 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.
29. Wichmann, Elizabeth. 1991. Listening to Theatre: The Aural Dimension of Beijing Opera. Honolulu: University of Hawaii Press.
30. 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 Peking Operas.) [Note: A film to be released in 2008 is Mei Lanfang, directed by Chen Kaige, starring Leon Lai as the famous opera performer. See, for example, Movie: Mei Lanfang Immortalized on Screen (by Zan Jifang, in Beijing Review, 16 August 2007).]
31. 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.
32. 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.
33. * 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).)
34. * Yang, Xianyi and Gladys Yang (translators). 1956. Love Under the Willows (A Szechuan Opera). (Unif Title: Liang Shan-po yü Chu Ying-t'ai) Peking: Foreign Languages Press.
35. * Yang, Xianyi and Gladys Yang (translators). 1958. The Forsaken Wife (A Pingju Opera). Peking: Foreign Languages Press. (Translation of Qin Xiang Lian.)
36. 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
37. Yung, Bell. 1989. Cantonese Opera: Performance as Creative Process. Cambridge: Cambridge University Press.
38. 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.]

Note:   In Hong Kong, some of the well-known Chinese operas were transported from the stage to the film studio in the late 1950's to 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. Shaw Brothers' recently remastered opera films 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), Madem 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), etc. Shaw Brothers also ventured and 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 1976 opera film in the Chaozhou (Southern Min) dialect, Farewell to a Warrior (Ci Lang Zhou).

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).

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 Sullivant (Main) Library in VCD format. (In other words, both videorecordings of stage performances and film productions of Chinese operas are available from Sullivant (Main) 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.)



.. more to be added later ...

SOME ONLINE RESOURCES

• Ohio State University Libraries. Ohio State's online catalogues, as well as OhioLINK Catalog, WorldCat, etc. Search the Online catalogue for books, journals, e-journals, books and other materials reserved for a course, etc. The Chinese collection houses a number of volumes of Peking opera scripts and the occasional regional opera scripts. Also check out Sullivant (Main) Library for audio-visual materials, including video and audiotapes and non-data CD-ROMs and DVDs. Videorecordings of Chinese operas (Peking opera, regional opera, etc., as well as film productions of Chinese opera), are kept at the Sullivant (Main) Library.
• Google:
  • Google Scholar. Search Google Scholar for books and online articles. A search for "Peking opera", for example, yielded over 4,000 hits, while a corresponding Chinese search for 京剧 resulted in still more hits: 13,700. By comparison, a search for regional operas resulted in far fewer hits; for example, a search for "Zhejiang drama" (potentially including modern drama) yielded 1,700 hits, and 越剧 around 4,000 hits, while "Cantonese opera" and 粤剧 combined netted only some 2,500 hits.
  • Google Book Search. Search for books by entering a keyword or phrase. A search "Peking opera" and one for "京剧", for example, each yielded over a thousand titles. Depending on titles, the book entry may include an image of the book cover. Clicking on a book title provides some basic information about the book, and potentially a few snippets (i.e., a few sentences containing your keyword or phrase in context) or full pages, or the entire book, if it is out of copyright. A search can also be conducted within the original search to further refine the search. Explore the website for further features.
  • Google Video. Search for videos and video excerpts of Chinese opera. For example, a search for "京剧" yielded over 4,000 results. (Keep in mind, however, that the entries include duplicates, modern Peking opera, etc.)
• Zhongguo Jingju Yishu (中国京剧艺术网). Informative website on Peking opera, including an extensive set of downloadable Peking opera arias and accompanying scripts (Jingju Qu Ku (京剧曲库)).
• Zhongguo Xiqu Kao (中国京剧戏考). Website with extensive information on Peking opera, including opera scripts. (Other websites with Peking opera scripts include 5151.net (明星俱乐部 — 王蓉蓉俱乐部).)
• Zhongguo Xiju Chang (中國戲劇場). Website includes synopses, audio excerpts of Peking opera and regional operas, etc. (Also see Famous Opera Synopses, etc.)
• English Titles of Traditional Chinese Stories (English title / Pinyin Romanization / Chinese title). Most of these titles are also found in Chinese operas.
• A History of Chinese Opera. Information on the history of Chinese opera and the interplay between opera and film, including a link to some films in which Chinese opera forms part of the theme or plot.
• OSU Office of Responsible Research Practices (ORRP). The Institutional Review Board (IRB), administered under the ORRP, oversees research activities at OSU, including research involving Human Subjects. "All research activities involving human subjects must be reviewed and approved by an IRB unless the Office of Responsible Research Practices prospectively determines that the research falls into a category of exemption established by federal regulation." The ORRP holds regular Workshops for faculty and graduate students, including those aimed specifically at students, such as workshops on "IRB Training for OSU Students." The website also has a page on News & Announcements, which has links to the online Buck-IRB Newsletter.
• OSU Undergraduate Research Office. Information sessions on opportunities for undergraduate students to engage in research, regularly scheduled IRB Staff Assistance for Student Researchers, etc.
• OSU College of Humanities. Information on undergraduate / graduate student funding opportunities, faculty, departments and units in the College, etc.
• OSU Institute of Chinese Studies (ICS). The ICS is "a center for scholarly research, student training, and public programming about the Chinese-speaking world for OSU faculty, students, the P-12 community, business and government, and members of the general public."
• OSU East Asian Studies Center (EASC). The Title VI NRC/FLAS East Asian Studies Center (EASC) at The Ohio State University's mission is "the broad dissemination of basic knowledge and advanced research on the cultures, languages, history, politics, and economies of East Asia."
• Chinese Culture Club. The CCC's mission is to promote the study of Chinese language and culture throughout Ohio State University and the surrounding community. Events include guest speakers, performers, film-showings, etc.
• MC's Course-Related Bibliographies and Other Resources:
  • Marjorie Chan's Chinese Language and Gender On-Line Bibliography. Bibliography, some web-accessible articles, online collections of gender-related course syllabi, etc.
  • Marjorie Chan's Online Bibliography for Chinese 580. Bibliography of English-language sources compiled in Spring 1999 for the undergraduate course, Chinese 580 (Chinese Language: Description and Analysis); updated periodically.
  • Marjorie Chan's Modern Chinese Dialects Bibliography. Bibliography of articles and references that were extracted from the Spring 2004 Chinese 785 course syllabus, and is updated from time to time.
  • Marjorie Chan's Word Lists and Online Glossaries/Dictionaries. Anotated links to online and downloadable Chinese word lists, frequency lists, dictionaries, etc.
• Marjorie Chan's ChinaLinks (ChinaLInks.osu.edu). Anotated links to Chinese culture, language, and linguistics. Also hosted under ChinaLinks.osu.edu site is the 20th North American Conference on Chinese Linguistics (NACCL-20), to be held at The Ohio State University on 25-27 April 2008.
• MC's Courses and Archived Course Syllabi. Course syllabi contain readings and references that may provide an additional source for references.

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Originally created on 23 October 2004 for Winter Quarter 2005 for the first offering of the course by the current instructor, with the most recent major revision on 30 August 2007 for Autumn Quarter 2007.
Last update: 25 October 2007.

The Chinese 674 logo at the top of this course syllabus shows a scene in a pavilion from Suo Lin Nang (鎖麟囊 'The Jewel Bag', a.k.a. 'The Unicorn Purse' or 'Unicorn-Trapping Purse'), with two brides in their sedan chair, one from a poor family and one from a wealthy family, waiting out a sudden rain storm.] The small brush paintings on this webpage, by Ma De (高马得), depict scenes from several different Peking 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. 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 used as background was prepared from a color papercut at Image Nation.

Copyright © 2004-2007 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.9 @ osu.edu> (close the gap).