Performing Hybridity in Colonial-modern China

In Shanghai during the early portion of the twentieth century, a hybrid theatrical form emerged that was based on Western spoken theatre, classical Chinese theatre, and a Japanese hybrid form of kabuki and Western-style spoken theatre called shinpa (new school drama). Known as wenmingxi (civilized drama), this form has, until recently, largely been ignored by scholars in China and the West as it does not fit into the current binary "traditional/modern" model in non-Western theatre and performance studies. This book places wenmingxi in the context of its hybridized literary and performance elements, giving it a definitive place in modern Chinese theatre.

Siyuan Liu is Assistant Professor in the Department of the Theatre and Film at the University of British Columbia, Canada. He has published over a dozen peer-reviewed essays on twentieth-century Chinese theatre in edited books and academic journals such as Theatre Journal, Theatre Survey, TDR, Asian Theatre Journal, and Text & Presentation. He is the current President of Association for Asian Performance.

Introduction: Modernity, Interculturalism, and Hybridity
1. Emergence of the National Theatrical Discourse
2. Hybrid Sources: Western, Japanese, and Chinese
3. Hybridization in Shanghai
4. Literary Hybridity: Scripts and Scenarios
5. Translative Hybridity: Acculturation and Foreignization
6. Performance Hybridity: The Search for Conventions

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Performing Hybridity in Colonial-modern China

Summary

Author Biography

Table of Contents

Supplemental Materials