This book examines the two-way impacts between Brecht and Chinese culture and drama/theatre, focusing on Chinese theatrical productions since the end of the Cultural Revolution all the way to the first decades of the twenty-first century. Wei Zhang considers how Brecht’s plays have been adapted/appropriated by Chinese theatre artists to speak to the sociopolitical, economic, and cultural developments in China and how such endeavors reflect and result from dynamic interactions between Chinese philosophy, ethics, and aesthetics, especially as embodied in traditional xiqu and the Brechtian concepts of estrangement (Verfremdungseffekt) and political theatre. In examining these Brecht adaptations, Zhang offers an interdisciplinary study that contributes to the fields of comparative drama/theatre studies, intercultural studies, and performance studies.
Table of Content
Chapter 1: Introduction.- Chapter 2: One Director, Three Takes: Chen Yong’s Reinterpretations of
Life of Galileo,
The
Caucasian Chalk Circle, and
The Threepenny Opera.- Chapter 3 Good Persons of Sichuan, Jiangnan, and Beijing: Brecht’s
The Go
od Person of Szechwan and Chinese
Xiqu Adaptations.- Chapter 4: Concentric Circles: Two
Chuanju Reinterpretations of
The Caucasian Chalk Circle as
The Chalk Circle.- Chapter 5: Modernity, Chinese Culture, and Intertextuality: Bertolt Brecht’s
Turandot and Wei Minglun’s
Chuanju Play Chinese
Princess Dulanduo.- Chapter 6: Brecht and Mao Zedong: Two Sides of “The Other Side” and “Twice Removed” Vision of “Snow”.- Chapter 7: Conclusion.
About the author
Wei Zhang is Professor at Hangzhou Normal University, China. She holds a Ph D in Comparative Theatre from the University of Hawai’i at Mānoa (2018) and a Ph D in Performance Studies from Shanghai Theatre Academy (2007). Her research has been published in Asian Theatre Journal, Classical Receptions Journal, The Brecht Yearbook, and many other journals.
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