{"id":477,"date":"2018-11-09T19:59:34","date_gmt":"2018-11-09T19:59:34","guid":{"rendered":"https:\/\/www.critical-stages.org\/18\/?page_id=477"},"modified":"2019-02-03T16:40:08","modified_gmt":"2019-02-03T16:40:08","slug":"special-topic-chinese-theatre","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/18\/special-topic-chinese-theatre\/","title":{"rendered":"Special Topic I: Theatre and Performing Arts in Contemporary China: Promises and Challenges"},"content":{"rendered":"

Section Guest Editors: Peng Tao*<\/strong>, **Danfeng Meng<\/strong> and ***Zhu Ning <\/strong>(Assistant Editor: Savas Patsalidis)<\/p>\n

\"\"<\/p>\n

*Peng Tao<\/strong> is theatre critic, professor and head of the Department of Dramatic Literature at the Central Academy of Drama, in Beijing China. He is the president of the Chinese section of IATC. He graduated from the Russian Academy of Theatre Arts with a Master’s degree in Fine Arts. His main publications include \u201cA Reading of the Three Sisters<\/em>\u201d (2005\/3), \u201cNotes on the Seagull<\/em>\u201d ( 2007\/1), \u201cA Study of Lin Zhao Hua’s interpretation of Chekhov’s works\u201d (2008) , \u201cThe Spiritual Awakening of Intellectuals\u2014On Chekhov’s Uncle Vanya\u201d( 2017\/2), all of which appeared in Drama: The Journal of The Central Academy of Drama.<\/em><\/p>\n

\"\"<\/p>\n

**Danfeng Meng<\/strong> is an independent theatre critic and writer. She graduated from the Central Academy of Drama, where she majored in Dramatic Literature. She has published many reviews of Chinese plays. For more than 10 years, she worked as an actress in films, TV dramas, and stage plays. She also worked as Chief Editor for a number of website and fashion magazines, such as Madame Figaro, Figaro Girl, Go Travel<\/em>, and SOHU.com<\/a>.<\/em><\/p>\n

\"\"<\/p>\n

***Zhu Ning<\/strong> has a Ph.D. in Theatre Studies from the Central Academy of Drama. She now teaches in the Department of Dramatic Literature of the Academy. She has been the liaison for the IATC China Section for ten years. As an active critic, ZHU Ning writes regularly for New Theatre <\/em>(print magazine) and Theatre Jury <\/em>(Wechat Public Interface). Zhu Ning also writes plays for the theatre.<\/p>\n

\n
\"\"<\/a>\n

Introductory Note<\/a><\/p>\n

by Peng Tao<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Theatre Limits and Possibilities in Contemporary China: Interview with Lin Zhaohua and Guo Shixing<\/a><\/p>\n

by Lin Xiyue & Meng Danfeng & Peng Tao<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

“In China, directors are considered more highly than playwrights”:\u00a0Interview with Stan Lai<\/a><\/p>\n

by Savas Patsalidis<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Transforming Techniques, Transforming Relationships: Interview with Actor-Director Ding Yiteng<\/a><\/p>\n

by Lissa Tyler Renaud<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Chinese Theatre since 1980<\/a><\/p>\n

by Lin Kehuan<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Traditional Chinese Theatre Today<\/a><\/p>\n

by Fu Jin<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Contemporary Chinese Dance:\u00a0The Interweaving of Tradition and Modernity<\/a><\/p>\n

by Min Zhu<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Moving Forward: An Essay on How to Contemporize the Traditional Chinese Theater without Severing the Tradition<\/a><\/p>\n

by Elias Edstr\u00f6m<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Chinese Directors: The New Generation<\/a><\/p>\n

by Xi Muliang and Annie Feng<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Between Tradition and the Contemporary: An Exploration of Chinese Scenic Designers<\/a><\/p>\n

by Zhao Yan<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Interpretation and Misinterpretation of the Verfremdungs<\/em> effect on the Modern Xiqu<\/em> Stage<\/a><\/p>\n

by Chen Lin<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Noises from the \u201cOther\u201d and the \u201cAbove\u201d: An Alternative Reading of \u201cYellow Peril\u201d in The Humans<\/em><\/a><\/p>\n

by Bindi Kang<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

The Adaptation of Shakespeare into Chinese Xiqu<\/a><\/p>\n

by Zhu Ning<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Chinese Shadows on Swedish Stages<\/a><\/p>\n

by Margareta S\u00f6renson<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div>\n
\"\"<\/a>\n

Where \u03a4here \u0399s Theatre, \u03a4here \u0399s Hope:\u00a0Interview with Elizabeth Wong<\/a><\/p>\n

by Savas Patsalidis<\/a>, Chinese Theatre<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Section Guest Editors: Peng Tao*, **Danfeng Meng and ***Zhu Ning (Assistant Editor: Savas Patsalidis) *Peng Tao is theatre critic, professor and head of the Department of Dramatic Literature at the Central Academy of Drama, in Beijing China. He is the president of<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-477","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/Pam472-7H","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/pages\/477","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/comments?post=477"}],"version-history":[{"count":7,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/pages\/477\/revisions"}],"predecessor-version":[{"id":1314,"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/pages\/477\/revisions\/1314"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/18\/wp-json\/wp\/v2\/media?parent=477"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}