CeMEAS

Online Drama Reading: 童道明《塞纳河少女的面模》Daoming TONG, The Facial Mask of Seine Maiden
2020-07-25 14:00 - 17:00 (Europe/Berlin) | VooV
童道明《塞纳河少女的面模》Daoming TONG, The Facial Mask of Seine Maiden
Time: 14: 00 – 17: 00 25. July 2020
Place: Online (VooV Meeting ID：349 101 546)
Email: yingming.theater@gmail.com
Manner: Participants will read dramas and do some role-play exercises together via video or voice calls. Being an auditor is also welcome.
The Facial Mask of Seine Maiden was bought by Zhi FENG (冯至) accidentally in a bookstore when he studied aboard in Berlin. Since then, he had kept this facial mask even when he was at the National Southwest Associated University. If you are interested in Zhi FENG’s poems and his friendship with another famous Chinese scholar Xianlin JI (季羡林), please join us to read The Facial Masks of Seine Maiden together.
Anyone interested in the drama The Facial Mask of Seine Maiden is warmly welcome to participate in the activities.
For more information about the Chinese Theater in Goettingen, please click here.

Online Drama Reading: 潘惠森《在天台上冥想的蜘蛛》Weisum Poon, Spider in Meditation
2020-08-07 14:00 - 17:00 | VooV
潘惠森《在天台上冥想的蜘蛛》Weisum Poon, Spider in Meditation
Time: 14: 00 – 17: 00 07. August 2020
Place: Online (VooV Meeting ID：338 885 111)
Email: yingming.theater@gmail.com
Manner: Participants will read dramas and do some role-play exercises together via video or voice calls. Being an auditor is also welcome.
In this crowded city, Hong Kong, buildings are nestled against each other, well illuminated day and night. The rooftops of abundant high buildings and skyscrapers are connected into a wasteland when seen from above the city. There are four paupers without fixed residences on this wasteland. They gaze at the sky and overlook the world above the city landscapes while pursuing the highest-positioned goal in life with the lowest standard of material conditions.
They fly from one rooftop to another and do their best to return the world’s desires, which leaves them only spiders meditating on the rooftop. If you want to have the experience of spiders contemplating on the rooftop, please do not hesitate to join us.
For more information about the Chinese Theater in Goettingen, please click here.

Online Drama Reading: 陈尹莹《花近高楼》Joanna CHAN, The Whirligig of Time
2020-08-21 14:00 - 17:00 | VooV
陈尹莹《花近高楼》Joanna CHAN, The Whirligig of Time
Time: 14: 00 – 17: 00 21. August 2020
Place: Online (VooV Meeting ID：338 885 111)
Email: yingming.theater@gmail.com
Manner: Participants will read dramas and do some role-play exercises together via video or voice calls. Being an auditor is also welcome.
When you see the Chinese title of the drama, would you recall the verses by Du Fu杜甫, a poet from the Tang Dynasty? How does this kind of texts apply to Hong Kong stories in the second half of the 20th century? In a turbulent environment, what kind of persistence will people have, and what kind of choices will people make? By reading The Whirligig of Time, perhaps you could find your answer.
Anyone interested in the drama The Whirligig of Time is warmly welcome to participate in the activities.
For more information about the Chinese Theater in Goettingen, please click here.

Online Drama Reading: 顾雷《进化》Lei GU, Evolution
2020-09-12 14:00 - 17:00 | VooV
顾雷《进化》Lei GU, Evolution
Time: 14: 00 – 17: 00 12. September 2020
Place: Online (VooV Meeting ID：518 226 916)
Email: yingming.theater@gmail.com
Manner: Participants will read dramas and do some role-play exercises together via video or voice calls. Being an auditor is also welcome.
According to Stanford Encyclopedia, evolution means the changes in the proportions of biological types in a population over time, which is also a common understanding for most people. However, what does the term evolution mean when it comes to one particular family in current society, such as a journalist or a taxi driver living in Beijing? What is the so-called best choice to make for “evolution?”
It is a great honor and pleasure to invite the playwright, Mr. Lei Gu, to participate in our online script reading and discussion on Sep. 12th.
If you would like to know more about the evolutional story that happened in the wee hours of Beijing, please join us to read the Evolution together.
For more information about the Chinese Theater in Goettingen, please click here.

Online Drama Reading: 朱宜《杂音》Yi ZHU, A Deal
2020-09-26 14:00 - 17:00 | VooV
朱宜《杂音》Yi ZHU, A Deal
Time: 14: 00 – 17: 00 26. September 2020
Place: Online (VooV Meeting ID：979 386 357)
Email: yingming.theater@gmail.com
Manner: Participants will read dramas and do some role-play exercises together via video or voice calls. Being an auditor is also welcome.
What will happen if Chinese parents would like to buy an American house for their kid who receives his/her education in the United States? What kind of “chemical reaction” will be produced by the generation gap plus cultural shocks between China and the USA? Let us read the Yi ZHU’s A Deal to explore their conflicts and struggles.
Anyone interested in the drama A Deal is warmly welcome to participate in the activities.
For more information about the Chinese Theater in Goettingen, please click here.

Online Drama Reading: 约翰·洛根《红色》John Logan, Red
2020-10-24 14:00 - 17:00 | VooV
约翰·洛根《红色》John Logan, Red
Time: 14: 00 – 17: 00 24. October 2020
Place: Online (VooV Meeting ID：877 506 987)
Email: yingming.theater@gmail.com
Manner: Participants will read dramas and do some role-play exercises together via video or voice calls. Being an auditor is also welcome.
“There is only one thing I fear in life, my friend… One day the black will swallow the red,” mentioned by Rothko. In his eyes, what does “black” mean in this play? For his young assistant, Ken, what about his ideas towards “red?” Besides, which is your option between black and red based on culture and aesthetics?
If you would like to know more about Rothko and Ken’s discussions, let’s read John Logan’s Red together.
For more information about the Chinese Theater in Goettingen, please click here.

Online Drama Reading: 席勒《阴谋与爱情》Friedrich Schiller, Intrigue and Love
2020-11-14 14:00 - 16:00 | VooV
席勒《阴谋与爱情》Friedrich Schiller, Intrigue and Love
Time: 14: 00 – 16: 00 14. November 2020
Place: Online (VooV Meeting ID：567 436 316)
Email: yingming.theater@gmail.com
Manner: Participants will read dramas and do some role-play exercises together via video or voice calls. Being an auditor is also welcome.
This play shows Ferdinand von Walter, son of an aristocrat, falls in love with Luise Miller, daughter of a middle-class musician, and how cabals and their intrigue destroy the couple’s relationship.
Anyone interested in the love story is warmly welcome to participate in the activities.
For more information about the Chinese Theater in Goettingen, please click here.

Online Drama Reading: 加缪《卡里古拉》Albert Camus, Caligula
2020-11-28 14:00 - 17:00 | VooV
加缪《卡里古拉》Albert Camus, Caligula
Time: 14: 00 – 17: 00 28. November 2020
Place: Online (VooV Meeting ID：460 607 174)
Email: yingming.theater@gmail.com
Manner: Participants will read dramas and do some role-play exercises together via video or voice calls. Being an auditor is also welcome.
Synopsis: Who assassinated Roman Emperor Caligula, a famed historical figure for his cruelty and seemingly insane behavior? Find the answer by reading this play of psychological and philosophical debates.
If you would like to know more about Caligula’s story, please join us to read the Evolution together.
For more information about the Chinese Theater in Goettingen, please click here.

Collaboration and Crossing Borders in Art
2021-01-17 13:00 - 14:30
Collaboration and Crossing Borders in Art
Time: 17.01.2021 CET 13:00-14:30
Place: Zoom Meeting ID 976 2733 1221
Language: Chinese

Speakers:
Chong Wang 王翀 is one of China’s most influential post-80s theater director. His works have been performed in 17 countries. The Warfare of Landmine 2.0 《地雷战2.0》 won 2013 Festival/Tokyo Award. Lu Xun 《大先生》was noted by the Beijing News as The Best Chinese Production of Year 2016. In April 2020, his online production of Waiting for Godot《等待戈多 attracted tens of thousands audience, breaking the record of single performance attendance in Chinese theater.
Shasha Li 李鋆天 is a puppetry artist. She has been recognized with the “Best Performance” awards at the 2nd and 4th Golden Lion National Puppet Art Festival in 2008 and 2012. She won the award “Best Performance” at the 2nd Omsk Arlekin International Puppet Art Festival in Russia. She received a Rockefeller Foundation Asian Cultural Council Scholarship in 2013 and spent a year as an artist-in-residence in New York. She is also a Chinese calligraphy and painting artist.

Online Drama Reading: 易卜生《海达.高布乐》Henrik Ibsen, Hedda Gabler
2021-01-30 14:00 - 17:00
易卜生《海达.高布乐》Henrik Ibsen, Hedda Gabler
Time: 14: 00 – 17: 00 30. January 2021
Place: Online (Zoom Meeting ID：996 8047 2840)
Email: yingming.theater@gmail.com
Manner: Participants will read dramas and do some role-play exercises together via video or voice calls. Being an auditor is also welcome.
“She is a mysterious and noble, rebellious and unruly the so-called “father’s daughter.” After getting to know the large deep shadows in her heart and see a touch of disdain and despair in her eye, people can only have complicated love-hate feelings for her. Let us go into the inner world of Ibsen’s most attractive and controversial woman – Haida Gabler.
Everyone is welcome to the online drama reading activity of Chinese Theater in Goettingen, Ying Ming Theater.

For more information about the Chinese Theater in Goettingen, please click here.

Online Drama Reading: 杜国威《我和春天有个约会》Kwok-Wai Raymond TO I Have a Date with Spring
2021-02-13 13:00 - 16:00
杜国威《我和春天有个约会》Kwok-Wai Raymond TO I Have a Date with Spring
Time: 13:00 – 16:00 13 Feb 2021 (CET)
Place: Online (Zoom ID: 971 8032 8732)
Email: yingming.theater@gmail.com
Manner: Participants will read dramas and do some role-play exercises together via video or voice calls. Being an auditor is also welcome.
When a retired singsong girl came back to the stage after twenty years, what kind of stories would she recall for her debut and her colleagues? How did the four different singsong girls’ life change over time? If you are interested in the story of four Hong Kong singsong girls in the second half of the 20th century, please do not hesitate to join us to read I Have a Date with Spring.
For more information about the Chinese Theater in Goettingen, please click here.

Online Drama Reading: 安东·八甫洛维奇·契诃夫 《熊》Anton Pavlovich Chekhov The Bear
2021-02-27 13:00 - 16:00
安东·八甫洛维奇·契诃夫 《熊》Anton Pavlovich Chekhov The Bear
Time: 13:00 – 16:00 27 Feb 2021 (CET)
Place: Online (Zoom ID: 951 5232 7696)
Email: yingming.theater@gmail.com
Manner: Participants will read dramas and do some role-play exercises together via video or voice calls. Being an auditor is also welcome.
The pompous widow vowed to keep faithful to her husband for the rest of her life. When she met the rude and irrational male debt collector, what kind of chemistry would happen between them?
Anyone interested in Chekhov’s farce The Bear is welcome to participate in the activity.
For more information about the Chinese Theater in Goettingen, please click here.

Online Theater Workshop: “Contemporary Theater Performance” Seminar Series No. 3
2021-03-18 14:00 - 15:30
“Contemporary Theater Performance” Seminar Series No. 3
Transnational Chinese Theatres: Aesthetics, Politics, Methods

Time: March 18, 2021 CET 2:00 PM-3:30 PM
Zoom Link: https://uni-goettingen.zoom.us/j/92404610446?pwd=[REDACTED]
Meeting ID: 924 0461 0446
Passcode: [REDACTED]
Abstract
How can we rethink Chinese-language theatres from the perspective of the transnational? What are the advantages of looking at the performance cultures of the Chinese-speaking world through a trans-Asian lens? What can the “trans-” signify in the performances of the Sinophone? Unlike the field of Sinophone cinemas, where “trans-” approaches, particularly the transnational, have been debated widely, there has not yet been a comprehensive theoretical reflection of the agentive implications of trans-ing for the performances of the contemporary Sinosphere, including the performances of memory. Based on the recent monograph, Transnational Chinese Theatres: Intercultural Performance Networks in East Asia (Palgrave, 2020), this talk will introduce the notion of transnational Chinese theatres as a practice and method of performance collaboration constituted by mobile networks of relations. Transnational Chinese theatres present a performative inflection of notions of minor transnationalism and inter-Asian referencing – or (trans-)Asia as method – which foregrounds collaboration as a generative site of counter-memory and transgressive imagination. An overview of recent transnational networks and works originating within the East Asian Sinosphere will show how collaborative practice can mobilize multiple dimensions of the “trans-” – transmediality, translingualism, translation, transcoloniality – to reconstitute Sinophone performance cultures as platforms for transgressively reconfiguring the nation and enabling the collective memorialization of contested national histories through transnational comparison.
Bio
Rossella Ferrari is Professor of Chinese Studies in the Department of East Asian Studies at the University of Vienna, Austria. Her main expertise is in the performance cultures of the Chinese-speaking world. Her research interests include avant-garde studies, intercultural performance, intermediality, adaptation, memory studies, and transnational and inter-Asian approaches to the study of Sinophone cultural production. She is the author of Pop Goes the Avant-Garde: Experimental Theatre in Contemporary China (2012) and Transnational Chinese Theatres: Intercultural Performance Networks in East Asia (2020), and the co-editor of Asian City Crossings: Pathways of Performance through Hong Kong and Singapore (forthcoming 2021).
Organizer
Ying Ming Theater
Sponsors
The Center for Modern East Asian Studies at the University of Göttingen
The Academic Confucius Institute in Göttingen

Online Script Reading: Saving Face
2021-05-01 13:00 - 16:00
Online Script Reading: Saving Face
Online script reading No. 37 hosted by Ying Ming Theater
Play: Saving Face, written by Lao She (Chinese: 老舍)

Time: May 1st, CET 13:00-16:00
Zoom Meeting https://uni-goettingen.zoom.us/j/94282596030
ID 942 8259 6030
Contact: yingming.theater@gmail.com

Hamlet Shakespeare Day 2021
2021-05-08 08:00 - 2021-05-29 17:00 | Online
Hamlet Shakespeare Day 2021
Online script reading No. 38 hosted by Ying Ming Theater: Reading and Watching Shakespeare
Play: Hamlet, written by William Shakespeare
Schedule:

May 8th, CET 13:00-16:00, reading the script (obligatory)
May 15th, watching Hamlet, a production by British National Theater (optional)
May 22nd, watching Princess Hamlet, a production by Theater Rampe (optional)
May 28th, watching Hamlet, a production by the Maxim Gorki Theatre (optional)
May 29th, CET 13:00-16:00, presentation and discussion (obligatory)
Full Registrants. The Event is not open to the general public.
Contact: yingming.theater@gmail.com

Pictures on the announcement from left to right:
Princess Hamlet © The Rampe Theater
Hamlet © The Bochum Theater
Hamlet © The Maxim Gorki Theater

Online Script Reading: Secret Love in Peach Blossom Land
2021-06-06 13:00 - 16:00
Online Script Reading: Secret Love in Peach Blossom Land
Online script reading No. 39 hosted by Ying Ming Theater
Play: Secret Love in Peach Blossom Land, written by Stan Lai (Chinese: 赖声川)
Time: June 12th, CET 13:00-16:00
Zoom Meeting https://uni-goettingen.zoom.us/j/95083744298
ID 950 8374 4298
Contact: yingming.theater@gmail.com

Shouxin Kuaile 收信快乐 Love Letters
2021-06-24 - 2021-06-26
A Monological & Digital Theater Produced by Ying Ming Theater in Göttingen, Germany
数字剧场独白剧，德国哥廷根嘤鸣剧社出品
The innocence and ignorance of youth is a poem as it may seem and a mystery as I can dream. Shuttlecocking letters from afar for forty years, I look for a love in my life. I wonder if time could stop at the moment when we first met, without dislocation, delusion and discrepancies.
年少时的懵懂情愫，如诗如梦。四十年，驿寄梅花，鱼传尺素，寻一生知心爱人。盼人生若只如初见，不再错、错、错。
Shouxin Kuaile (Love Letters) is adapted from a drama of the same name, in which the motif of “love and regret” has been re-examined and constructed. The work highlights the thinking about encounters in life and the argument of free will, showing how individuals experience inner conflicts in front of choices. This drama uses monologues and cross-media to present the heavy emotional burden carried by the two characters through the artistic technique of “cinema theater”. When the minimalist theater scenes and the verbal metaphor in the language of camera/photography meet, Shouxin Kuaile, a post dramatic theater, will provide the audience a unique aesthetic experience online.
《收信快乐》根据同名话剧改编而成，其中“爱情与遗憾”的母题被重新审视和构建，并在此基础上突出了对人生际遇与自由意志的思考，展现了个体在面临选择时所经历的内在冲突。作品用独白和跨媒体记录的方式将一段厚重的情感通过“电影剧场”的艺术手法呈现出来：当极简的戏剧场景和极富隐喻意义的镜头语言交汇时，独特的后戏剧剧场将为观众的线上观影提供别具一格的审美体验。
This drama premieres at the 5th European Chinese Theater Festival (Online Special, June 24-26) in Frankfurt.
作品参加法兰克福“第五届欧洲中文戏剧节”(6月24日-26日)线上特别展演。

收信快乐

Virtual Theater Project
2021-07-13 16:00 - 22:00
China Topography 2021 is a virtual theater project conceptualized by Prof. Dr. Li Yinan, which includes The Peach Blossom Land, The River, Relics, The Escape, and News Broadcast. Prof. Sebastian Kaiser and students at the Central Academy of Theater will join her to present the performances on July 13. You may find more details from the program.

Anyone who is interested is warmly welcome! To register for participation, just send a message to chinatopo2021@outlook.com

Yingming Theater #5: The Poetic Quest and its Expression in Dramatic Writing
2021-11-17 14:00 - 16:30
The Poetic Quest and its Expression in Dramatic Writing 戏剧创作中的诗性追求及其表达
Time: Wed. Nov. 17, 2021. 2:00 PM CET 2021年11月17日周三，欧洲中部时间下午2点

Venue: https://uni-goettingen.zoom.us/j/97981532103?pwd=[REDACTED]
Zoom Meeting ID: 979 8153 2103
Language: Chinese 中文
Live Streaming:
Invited Speakers: Dr. ZHONG Haiqing 钟海清博士
Poster: Zhang Tong 张桐

Lecture Content 讲座内容

Review of theoretical perspectives on “poetic drama” in China and abroad 回顾中外“诗剧”的理论观点
Exploring poetic expression in contemporary theatre 探讨现当代戏剧中的诗性表达
From fragments to synthesis – Poetic expression in the stages of my dramatic writing 从片断到整体——诗性表达在本人戏剧创作的几个阶段
Questions and Discussion 讨论与交流

Short Bio 钟海清博士简介
A playwright of the National Theatre of China, ZHONG Haiqing graduated from the Shanghai Theatre Academy and the Central Academy of Drama with a PhD in Fine Arts, and is an active creator in the current stage art scene. His representative works include The Bells of Jingyang, The White-Skeleton Demon Subdues the Monkey King Three Times, Time of Sorrow, Dou Zhi Er, The White Snake and Kill the Autumn Dream. He has published nearly twenty professional papers in journals such as Theatre Art, Playwright, New Play, and Shanghai Drama. He has been invited to participate in domestic and international academic seminars.
钟海清，中国国家话剧院编剧，先后毕业于上海戏剧学院与中央戏剧学院，艺术学博士，活跃于当下舞台艺术界的创作者。代表作品包括《景阳钟声》、《白骨精三打孙悟空》、《悲情时光》、《豆汁儿》、《白蛇》、《杀死秋天的梦》等。在《戏剧艺术》、《剧作家》、《新剧本》、《上海戏剧》等期刊上发表专业论文近二十篇。累计受邀参加国内及国际学术研讨会十余次。

Organizer/主办:

Acknowledgement/鸣谢:
哥廷根大学现代东亚研究中心

哥廷根大学学术孔子学院

Chinese Theater: Eco-environmental Performance in and outside Contemporary Chinese Theater
2021-11-24 13:00 - 14:30
Speaker: DING Liu
Time: Wed. Nov. 24, 2021. 1:00-2:30 PM CET
Venue: https://uni-goettingen.zoom.us/j/94944402503
Meeting ID: 949 4440 2503
Organizer: Yingming Theater

“Contemporary Theater Arts” Seminar Series No. 7: Illustrating the Stage of Hong Kong for Audiences of the Present and the Future
2021-12-08 13:00 - 14:30
My Creative Journey as a Curator of the Exhibition “A Snap beyond Borders”
Speaker: Chan Kwok Wai Bernice
Time: Dec. 8th, Wednesday, 1:00 PM-2:30 PM CET
Language: English
Organizer: Yingming Theater

______________________
Zoom Meeting

Meeting ID: 964 2065 8426
Passcode: [REDACTED]

Chan Kwok Wai Bernice is currently the General Manager of the International Association of Theatre Critics (Hong Kong), and an Examiner for the Hong Kong Arts Development Council (Drama Committee). She is also a Panel Member of the Hong Kong Drama Awards, the Hong Kong Theatre Libre, and the IATC(HK) Critics Awards, as well as an Executive Committee Member of the International Association of Libraries, Museums, Archives and Documentation Centres of the Performing Arts (SIBMAS).
She received the Hong Kong Arts Development Council-University of Leeds-Chevening Scholarships in 2005 and obtained her Master of Arts in Theatre Studies from the University of Leeds (UK). She was also an Art Form Panel Member (Festivals) of the Leisure and Cultural Services Department (2011–2016), an Advisory Committee Member of School of Drama, the Hong Kong of Academy for Performing Arts (2017–2018), as well as a guest host of Artscritique (2007–2018)and a Radio and Television Hong Kong radio programme. Chan has curated and edited over 50 publishing projects about performing arts. Her recent editorial projects have included Ten Years of A City: Selected Hong Kong Plays (2003–2012), which was awarded the 11th Hong Kong Book Prize in 2018, and “A Snap beyond Borders: An Online Archive and Education Project of Hong Kong Theatre and Performance Photography”.

Online Drama Reading: 活着 - To Live
2021-12-11 13:00 - 14:00
Time: Dec. 11, Sat. 1: 00 PM CET

Zoom: https://uni-goettingen.zoom.us/j/97211990533
Meeting ID: 972 1199 0533
Language: Chinese
Zoom QR:

Play Script: To Live or Huozhe in Chinese, a play by Zhang Xian adapted from Yu Hua’s novel of the same name. It describes the struggles endured by the son of a wealthy land-owner, Fugui, in China from the 1940s to the 1970s

Lecture: Play and Performance of Hometown: A Talk on College Theater Production
2022-01-12 13:00 - 14:30
Play and Performance of Hometown: A Talk on College Theater Production
Speaker: Assoc. Prof. Dr. GAO Ziwen

Time: Jan. 12, Wednesday, 1:00 PM-2:30 PM CET, Beijing Time 8:00 PM-9:30 PM
Zoom Meeting: https://uni-goettingen.zoom.us/j/96138078236Meeting ID: 96138078236
Language: Chinese with English interpretation
Poster: Zhang Tong / Yumin Ao
More information under: https://yingmingtheater.com/seminar-series-no-8/

讲题:《故乡》的编剧与制作——兼谈校园戏剧创作
嘉宾: 高子文（博士）副教授
时间: 1月12日（周三）欧洲中部时间 下午13:00时 北京时间 晚间20:00时
地点：https://uni-goettingen.zoom.us/j/96138078236
会议号：96138078236
语言：中文配英文翻译
海报：张桐 / 敖玉敏

Lecture Content 讲座内容

To introduce the production background of Hometown 介绍舞台剧《故乡》的剧本创作背景
To describe the production process and market promotion 描绘《故乡》的制作流程和市场推广
To discuss the advantage and challenges for college theater productions 讨论校园戏剧创作的优势和面临的困境

Short Bio 个人简介
Gao Ziwen: associate professor at Nanjing University, head of the Department of Theater, Film, and TV Arts, and deputy dean of the School of Liberal Arts. He received a bachelor’s degree in Chinese Language and Literature and earned his M.A. and Ph.D. degrees in Theater and Traditional Chinese Drama Studies from Nanjing University. In 2011, he was a visiting scholar at Columbia University. In 2013, he participated in the artist-in-residence program in Austria. He currently acts as the executive editor of Stage and Screen Review. In 2019, he was awarded the Fund for Outstanding Young Scholars in Social Sciences in Jiangsu province. He was selected by the Jiangsu Province “Qinglan Initiative” as one of the young and mid-aged academic leaders in 2021. His research interests include theatrical theories and theater criticism. He has completed, as Principle Investigator, several research projects in social sciences at national and provincial levels. He was granted the Young Teacher Award of the Fok Yingdong Education Foundation. He wrote a monograph Wenming de nizi: Meiguo xiandai xiju de zhongguo xushu and translated American Avant–Garde Theatre: A History into Chinese. He has published over 30 papers which can be seen in Literature and Art Studies, The Journal of National Taiwan Normal University, and Theater Arts, etc. He also authored stage plays, including Day and Night Here, Pollution and Purification, and Hometown.
高子文：南京大学文学院副教授，文学院戏剧影视艺术系主任，文学院副院长。南京大学汉语言文学本科，戏剧戏曲学硕士、博士。2011年哥伦比亚大学访问学者。2013年参加奥地利驻地艺术家项目。现任《戏剧与影视评论》执行主编。2019年入选江苏省社科优青。2021年入选江苏省“青蓝工程”中青年学术带头人。主要研究领域为戏剧理论、戏剧批评。主持完成国家社科项目、江苏省社科项目多项，获霍英东青年教师基金。出版有个人专著《文明的逆子们：美国现代戏剧的中国叙事》，译著《美国先锋戏剧：一种历史》。在《文艺研究》《台大中文学报》《戏剧艺术》等刊物发表论文30余篇。创作有舞台剧剧本《这里的白天和夜晚》《污染和净化》《故乡》。
Event Information 活动介绍
We are honored to invite Assoc. Prof. Dr. Gao Ziwen of the Department of Theater, Film, and TV Arts of Nanjing University as our first guest speaker for the “Contemporary Theater Art” Seminar Series in the Year 2022. He will deliver a talk on “Play and Performance of Hometown: College Theater Production.”
Hometown is a three-act comedy written by Dr. Gao. The author demonstrates his respect for Lu Xun to mark the 100th anniversary of Lu’s publication of the novelette of the same name. The play tells the social life in rural China while experiencing dramatic changes. It demonstrates snobbish or friendly relationships in the countryside as well. It depicts the mental distress of peasants in the hometown and educated young people who have made their exodus to cities. It presents the tension between people’s “being adaptable” and “being rigid.” The whole thrust of the drama is full of humor and irony. Meanwhile, it makes the audiences reflect on China’s rural economic and social development.
Their department is housed in the Faculty of Literature. It offers one of the most influential and leading undergraduate and graduate programs in drama or theater studies at the C9 League universities in China. They produced the historical comedy President’s Invitation in 2012. The director was Prof. Lü Xiaoping, and the play was authored by Lü’s student Wen Fangyi whom The Journal of Ying Ming Theater (Vol. 7) interviewed. The cast consisted of the students and teachers from Communication University of China (Nanjing) and the MFA students from Nanjing University. This drama has grossed ¥10 million at the box office. It went on tour in North America in 2013. The New York Times (Chinese Edition) published an analytical article on the reasons for the success of this production and the phenomenon of returning to dramatic texts in the current Chinese theater landscape.
This event is co-organized by the Center for Modern East Asian Studies of the University of Göttingen and the Department of Theater, Film, and TV Arts of Nanjing University. Further detailed information concerning the time and the venue can be found on the poster.
“当代剧场艺术”讲座系列很荣幸地邀请到了南京大学戏剧影视文学系的高子文教授。他将为大家带来该系列2022新年第一讲，题目是“《故乡》的编剧与制作：兼谈校园戏剧创作”。
《故乡》是高子文副教授担任编剧创作的三幕喜剧，本剧为纪念鲁迅先生的短篇小说《故乡》发表100周年而做。该剧讲述了山乡巨变时代下中国农村的生活面貌与人情世故，描写了故乡农民和从故乡出走的青年知识分子的精神苦闷。戏剧冲突在人的“改变”与“固守”之间展开，语言幽默诙谐，同时又不失对中国乡土社会重建以及现代农村经济发展的深刻反省。
南京大学文学院下设的戏剧影视文学系提供戏剧专业教育，是“中国九校联盟”中最具影响力和最前沿的本科及研究生项目之一。2012年，南大推出了以校史为题材的喜剧《蒋公的面子》，首演反响强烈，随即开启全国巡演，目前票房已超千万。该剧由时任戏剧影视文学系系主任的吕效平教授担任导演，编剧温方伊是南京大学戏文专业本科三年级学生（哥廷根大学《嘤鸣戏剧》曾对作者进行了采访，见第7期），演员由中国传媒大学南广学院表演专业的师生和南京大学戏剧专业硕士担任。2013年，该剧进入北美，在旧金山、洛杉矶、达拉斯、休斯顿、波士顿、华盛顿、纽约七个城市为华人观众演出10场。《纽约时报》（中文版）曾刊载专题文章，分析了该剧在海内外取得成功的原因，并讨论了当下戏剧创作回归文本的现象。
本次活动由哥廷根大学东亚系与南京大学戏剧影视文学系联合主办，活动详情请见海报。

Organizer / 主办:
哥廷根大学现代东亚研究中心

南京大学戏剧影视文学系

Partner / 协办:
哥廷根大学嘤鸣戏剧社

哥廷根大学学术孔子学院

哥廷根中国学生学者联合会

“Contemporary Theater Art” Seminar Series No. 9: Comedies in contemporary Chinese theatre – a sudden boom
2022-03-16 13:00 - 14:30
Comedies in contemporary Chinese theatre – a sudden boom
Speaker: Sabine Heymann, Dr. Anna Stecher
Time: Mar. 16, Wednesday, 1:00 PM-2:30 PM CET
Zoom Meeting: https://uni-goettingen.zoom.us/j/97996297643
Meeting ID: 979 9629 7643
Language: English

Content
Sabine Heymann in conversation with Anna Stecher about her new book „Die Konjunktur der Komödie im China der Gegenwart“ (The boom of comedies in contemporary China) – which presents six current successful comedies from China in German translation.
Chinese theatre is not famous for comedies. As far as we know, up to now, no Western book has been explicitly dedicated to this topic. However, comedies are among the most-watched and discussed plays in contemporary Chinese theatre of recent years – and someone might even argue, that in present time comedy has become the most serious theatrical expression on the Chinese stage. Entangled with the commercialization of theatre, new cultural structures, and the changing of urban audiences, the question is: How is this phenomenon to be understood? As a sudden boom influenced by narrative conventions of Western cinema? As a special expression of a millennial tradition of entertainment – and critique? It has to be said: comedies as an own genre didn’t really exist within the Chinese theatre tradition. On the other hand: elements of comedy have always been an important piece of the big xiqu tragedies.
While Chinese audiences are familiar with actors and plays, academic research does not appear to be interested in contemporary comedies, not to mention possible readers and audiences outside China, which have hardly heard of them. This was the reason for Anna Stecher and her colleague Xu Jian in Beijing to plan a book project focusing on contemporary Chinese comedies. It presents some of the most popular recent plays, written by Nick Yu, Wen Fangyi, Huang Weiruo, Lin Weiran, Guo Shixing, and Li Jing. It also aims to propose different approaches towards Chinese theatre – every play in translation is introduced by an expert from the fields of Chinese studies or Theatre studies. In addition, it intends to contextualize the recent phenomenon of comedies within different fields, such as the social reality in contemporary China and the history of comedy in China and to discuss questions like: Which topics are contemporary Chinese comedians interested in? How can this phenomenon be understood in the context of the 20th and 21st centuries in China? How can these comedies be understood in Europe? Last but not least, it aims at exploring comedy as a text for intercultural communication. When watching theatrical comedy performances on stage or on tape you think: what the heck is so funny about them? Questions like these are discussion topics of the book – and some more will be addressed in the “Contemporary Theater Art” Seminar Series.

More information about the speakers and the event can be found here.

Poster: Zhang Tong

Contemporary Theater Art Workshop: Waiting for Testing - Rewriting Theater History
2022-04-13 13:00 - 2022-04-14 16:00 | VG 3.104
Waiting for Testing – Rewriting Theater History
Event canceled!

We are very honored to invite Director TIAN Gebing and Choreographer WANG Yanan. They will host the workshop at the University of Göttingen on April 13 and 14. Amid the commonly experienced disorientation in this game-changing crisis, the workshop “Waiting for Testing – Rewriting Theatre History” proposes to hold a discussion on the history of the past two decades to look again at how, in contemporary performance, fugitive resistance and personal insurgence have formed biographies of surprise, as well at how collective heterogeneous energy was generated through fragmentary and inorganic connections, against the backdrop of the development of socio-historical space and power landscape in China. Director Tian will also briefly introduce his new performance at the Humboldt Forum in Berlin. He will lead the workshop from the modern history of East-West exchanges since the 18th century to enter topics such as “revolution” and “colonization”, trying to initiate discussions from a historical and macro perspective.
Time: April 13, 1: 00 PM-3: 00 PM (TIAN), April 14, 1: 00 PM – 4: 00 PM (WANG)
Venue: VG3.104, the University of Göttingen
The first in-person event on April 13 is limited to 40 attendees, and the second on April 14 is to 20.
Scan the QR codes on the posters to register.
Short bio:
TIAN Gebing is a director, curator, and writer. He graduated from the Central Academy of Drama in Beijing in 1991. In 1997 he initiated the founding of Paper Tiger Studio. Over the past 20 years, he has created a large number of artistic works and events mixing visual arts and performance. His works are seen in international cities and festivals around the world. Early works are exemplified by “Killer is Not Cold and High Art” (1998), “Cool” (2006), “Reading” (2010). From 2010 on he has shifted his focus to transcultural research and collaboration. Works in this period include “Dekalog” (2016), “500 Meters: Kafka, Great Wall or Images from the Unreal World and Daily Heroism” (2017), “Infection, State of Emergency, Beethoven” (2020). Further in 2014 “Totally Happy” premiered at Münchner Kammerspiele. In 2021, he collaborated with the ensemble of Muenchner Kammerspiele for “Hart Chamber Fragments”.
WANG Yanan is a dancer and choreographer. She graduated from Beijing Dance Academy. Since 1999 Wang worked for ten years with Living Dance Studio and was part of productions such as Birth Report and Body Report. She toured international cities and festivals and won the ZKB Award at Zürcher Theater Spektakel. In 2004, she founded Le Se Dance Studio and has created works such as Le Se 1, Le Se 2, House, etc. She collaborated with artists with various backgrounds and toured in European countries. She has been part of Paper Tiger works since 2001, as a performer, concept, and choreography. In 2014, she was commissioned by Hong Kong Arts Festival for Iron Horse. In 2014 she collaborated with Münchner Kammerspiele and Goethe Institute (China) for Totally Happy. In 2016 she was commissioned by Stary Teatr Kraków for “Dekalog”. In 2017 she worked with Thalia Theater Hamburg to create 500 Meters: Kafka, Great Wall or Images from the Unreal World, and Daily Heroism. In 2021 she collaborated again with Münchner Kammerspiele for “Heart Chamber Fragments”.

“当代剧场艺术” 工作坊
待测——重写剧场史
4月13日-14日，东亚系将邀请剧场导演田戈兵和舞蹈家王亚男来哥廷根大学，现场主持工作坊 —— “待测：重写剧场史”。将表演、艺术史的讨论嵌合于正在发生的现实语境下，通过身体和调研工作坊，探讨上世纪90年代以来的20多年，在社会历史和政治权力空间演进下，“表演” 如何在 “出走离开” 的反抗和自反性行动中塑造了出人意料的个人史，并进而碎片式无机生成集体的异质性能量。除了 “重写剧场史”，田戈兵导还将介绍最新的 “洪堡论坛” 项目，带领工作坊由18世纪以来东西方交流的近代史，进入“革命”，“殖民”等话题，尝试进行宏观历史视角的讨论。
时间：4月13日，下午1：00-3：00（田）；4月14日，下午1：00-4:00（王）
地点：哥廷根大学 VG3.104
报名：身体工作坊接受最多20位线下参与者。调研工作坊线下人数不超过40人。欢迎大家参加！请扫描海报右下角的二维码注册报名。两场活动，请分别报名。从速！我们为参与者准备了限量版的小纪念品！
个人简介：
田戈兵，剧场导演、独立制作人、策展人。王亚男，舞蹈家、编舞。田戈兵1997年创立纸老虎戏剧工作室，主持了该工作室的所有演出计划。早期代表作品包括：《北京蓝》(1997)、《杀手不太冷及高雅艺术》(1998)、《酷》(2006)、《朗诵》(2010)等。在2010年，纸老虎开始跨文化研究性剧场的创作，进行广泛的国际合作。连续两年在比利时安特卫普创作了《误读三部曲》。2012年在中国和德国同时开始大型剧场研究项目《群众：非常高兴》，2014年10月在德国慕尼黑室内剧院全球首演。2016年为波兰克拉科夫国立老剧院制作委约作品《十诫》。2017年剧场研究项目《500米：卡夫卡、长城、来自不真实世界的图像和日常生活中的英雄主义》参加 “世界戏剧节”，首演于汉堡塔利亚剧院。2021年9月获得柏林表演艺术基金会支持，制作了特定场域装置性表演项目《解除》。2021年10月《某种类似于我的地洞：心室片段》在慕尼黑室内剧院进行了世界首演。2021-22年，田戈兵与王亚男将在柏林洪堡论坛推出研究性表演项目。

Contemporary Theater Art Seminar Series 10: Writing new plays in China and the US
2022-04-20 14:00 - 16:00 | Zoom
Topic: Writing new plays in China and the US (and getting them produced) 在中国与美国的原创剧本写作和开发
Speaker: ZHU Yi
Time: April 20, Wednesday, New York 8:00 AM, Göttingen 2:00 PM, Beijing 8:00 PM
Zoom Meeting: https://uni-goettingen.zoom.us/j/98307551103
Meeting ID: 983 0755 1103
Language: English

Content
Writing new plays in China and US 中美的青年编剧的写作环境
How does an aspiring young playwright “enter the industry”?
Do you write and submit? Or do you get commissioned and write?
When you write in your second language in a foreign country;
How much do you get paid as the playwright for the production of your play?
Can you make a living off writing?
How do the theater critics work?
How important are reviews to a playwright?
Getting your plays out in China and the US 中美的原创剧本的开发环境
How do you get your new plays produced?
How do the directors work with the playwright?
How do you get your plays published?
How does the industry discover new plays/talents?
From page to stage, how long does it usually take?
Do China and the US have different tastes in new plays?
What kind of plays are popular in both countries? (And how to write those?)
Short Bio
ZHU Yi is an NYC-based playwright and screenwriter, born and raised in Shanghai. MFA in playwriting, Columbia University. BA in Theater and Film Literature, Nanjing University. She is a member of Ma-Yi Writers Lab, and the Royal Court Theatre’s International Playwrights Programme; an alumnus of New York Theatre Workshop’s Emerging Artist Fellowship, Ensemble Studio Theatre’s Obie Award-winning playwrights group Youngblood, and Clubbed Thumb’s Emerging Writers Group. She is a guest lecturer at Nanjing University. Her stage plays include You Never Touched the Dirt (Clubbed Thumb, NYC; Edinburgh International Festival), I Am a Moon (Drum Tower West Theater, Beijing; National Performing Arts Center of China), How Time Flies (National Theatre of China), A Deal (Urban Stages, NYC; Chippen Theater, Sydney), Holy Crab! (Wellspring Theater, Taipei; Círculo de Tiza, Monterrey), Apene i Himalaya (Hålogaland Teater, Tromsø), I Know You (National Theater of Ireland), among others. Apolitical Romance, a feature film she co-wrote, received a nomination for Best Narrative Feature at the 2013 Taipei Film Festival.
朱宜，上海出生长大，常住纽约。哥伦比亚大学戏剧编剧硕士，南京大学戏文本科。获2015全球泛华青年剧本创作竞赛一等奖。获上海戏剧谷壹戏剧大赏“2015年度菁英编剧”奖。获纽约戏剧工作坊新锐艺术家基金。获美国斯隆基金会的科学戏剧委托创作基金。纽约Ma-Yi剧院编剧团体成员。英国皇家宫廷剧院国际编剧项目成员。美国戏剧家协会会员。曾任纽约Ensemble Studio Theatre驻场编剧。南京大学文学院客座教师。
作品有话剧《长生》、《我是月亮》、《Holy Crab!异乡记》、《特洛马克》、《杂音》、《世外》、电影《对面的女孩杀过来》等，曾在爱丁堡国际艺术节、国家大剧院、中国国家话剧院-中国原创话剧邀请展、上海大剧院、上海话剧艺术中心、国话先锋剧场、外百老汇、圣路易斯莎士比亚戏剧节、北京青戏节、台湾戏曲中心、台湾水源剧场、挪威北极剧院、纽约亚洲电影节、台北电影节、台北金马影展、布宜诺斯艾利斯影展、福冈电影节、夏威夷电影节、意大利乌迪内远东电影节、西班牙大西洋影展、北京独立影展、台北国际纪录片影展等公演公映。剧本集《我是月亮》（译林出版社）。

Contemporary Theater Art Seminar Series 11: Performing the Socialist State
2022-05-04 16:00 - 18:00 | Zoom
Performing the Socialist State
Speaker: Professor Xiaomei CHEN
Time: May 4, California 7:00 AM, Wednesday, Göttingen 4:00 PM, Beijing 10:00 PM
Zoom Meeting: https://uni-goettingen.zoom.us/j/95966904122
Meeting ID: 959 6690 4122
Language: English
Poster: Nathalie Morenings

Content
The lecture offers a quick overview of Xiaomei Chen’s forthcoming book, Performing the Socialist State: Moments, Crisis and Success of Modern Chinese Theater (Columbia University Press, 2022). It begins with the theatrical achievements of Tian Han, Hong Shen, and Ouyang Yuqian, three founders of spoken drama, and asks how their legacies in the Republican period played important roles in constructing socialist theater. She will demonstrate how these multi-faceted leaders provided the blueprints for the Maoist theater in the PRC, contrary to the conventional claim that the PRC theater is a total break-away from the Republican period. To this end and in this context, she will reflect on the continuities with the performing culture in the Republican period through examinations of “Rightist satirical comedies” in the 1950s, women’s theater and film “red classic” in the 1960s, scientists on stage in the Maoist and post-Maoist periods, and soldiers in the transformation from the Republican, to the socialist, and finally, to the post-socialist stage. She will also explore the relationship between science and theater, music and theater, and artists and their collective identities as “new cultural workers.”
Short Bio
Xiaomei Chen is a Distinguished Professor at the University of California at Davis where she teaches modern Chinese literature, film, and theater. She is the author of Occidentalism (1995), Acting the Right Part (2002), and Staging Chinese Revolution (2016). She is the editor of Reading the Right Text (2003) and Columbia Anthology of Modern Chinese Drama (2010) and co-editor, with Claire Sponsler, of East of West: Cross-Cultural Performances and the Staging of Difference (2000)”; with Julia Andrew, of Visual Culture in Contemporary China (2001), with Steven Siouan Liu, Hong Shen and the Modern Mediasphere in Republican-Era China (2016), and with Tarryn Chun and Siyuan Liu, Rethinking Socialist Theater Reform (2021).
Further information: https://yingmingtheater.com/seminar-series-no-11/

Organizer
哥廷根大学东亚系

南京大学戏剧影视文学系

Partner
哥廷根大学现代东亚研究中心

哥廷根大学嘤鸣戏剧社

哥廷根大学学术孔子学院

哥廷根中国学生学者联合会

Contemporary Theater Art Seminar Series No. 12
2022-05-25 14:00 - 16:00 | Zoom
Writing a Play Script and Teaching How to Write One
Guo Chenzi
Time: Wednesday, May 25, 2: 00 PM CET
Zoom Meeting: https://uni-goettingen.zoom.us/j/62861416226
Meeting ID: 628 6141 6226
Language: Chinese
Content
1. Can we “learn” how to write a play? What are the pros and cons of playwriting “apprenticeships”?
写剧本能“学”吗？ 编剧“学徒制”的利与弊。
2. Can we “teach” how to write a play? Is teaching playwriting equivalent to play diagnosis?
写剧本能“教”吗？ 编剧教学=剧本诊断？
3. What is dramaturgy in the opinion of a playwright? How did I write “Hudec”?
编剧眼中的 Dramaturgy 与《邬达克》的写作。
Short Bio
GUO Chenzi, M.A., associate professor of Shanghai Theater Academy. Her works written include the dramas performed in black box theaters “Don’t Ask Who I Am”, “Love Slimming”, “Resurrection”, the musical drama “Zhong Kui”, “A Moment Is Not Forever”, the musical “Jews in Shanghai” (cooperation with others), stage plays “Hudec” and “Clear Ripples”, etc. She has published books Kunqu Opera: The Past Life I See in This Life, A Moment Is Not Forever – Guo Chenzi’s Drama Collection, The Curtain Opens – Guo Chenzi’s Drama Critic Collection, and Chenzi Watching Dramas.
郭晨子，文学硕士，上海戏剧学院副教授。编剧并上演的作品主要有小剧场话剧《别问我是谁》《爱情瘦身》《还魂记》、音乐话剧《钟馗》《瞬间不是永远》、音乐剧《犹太人在上海》（与人合作）、舞台剧《邬达克》《清清涟漪》等。出版有《昆曲 今生看到的前世》《瞬间不是永远——郭晨子剧作集》《大幕拉开——郭晨子戏剧评论集》和《晨子看戏》

For further information please refer to Yingming Theater.

Contemporary Theater Art Project: 你好，陌生人! Hello, Stranger!
2022-07-01 - 2022-07-03 | Haus Sindlingen, Sindlinger Bahnstraße 124, Frankfurt am Main, Frankfurt am Main, Hesse, 65931, Germany
你好，陌生人！Hello, Stranger! (Nihao, moshengren!)
Ying Ming Theater group
Dr. Yumin Ao

Date: July 01-03, 2022

Venue: Haus Sindlingen, Sindlinger Bahnstraße 124, 65931 Frankfurt am Main

The play Hello, Stranger! is produced by the Ying Ming theater group in Göttingen. The themes are cyberbullying, animal rights, freedom, betrayal, understanding, etc. Students are engaged in scripting, rehearsal, and theater design and technology. The students will join Dr. Yumin Ao to perform the play at Haus Sindlingen, Frankfurt, July 1-3.

In May, the Ying Ming theater organized a study tour to the Berliner Theatertreffen 2022. Students went to watch theaters and attended stückmart workshops and conferences on eco-theater and sustainability. They interviewed performance artist, composer, and singer Aine Nakamura from Japan/Germany, playwright Ruth Tang from Singapore/New Zealand, and talked with directors from Asia and Europe.

On June 4th, the students attended the premiere of the documentary film Lao Mei Chun Xiang 老梅春香 on Chinese shadow puppetry screened at KOLK 17 Puppet Theatre & Museum in Lübeck. Ying Ming Theater group contributes to the production through research and translation. Students were interested in the diverse collection in the museum and the staff’s research work. They interviewed the director, Dr. Antonia Napp.

Cast and Crew:
Director: Yumin Ao
Script: Xin Chen (drafting), Yumin Ao, Jiayue Li, Siyi Liu
Cast: Xin Chen, Siyi Liu, Jiayue Li, Sishi Cao, Ping He, Matheus
Assistant Director/Stage Manager: Xia Li
Costumes/Props/Makeup: Jiayue Li
Light Effect: Yumin Ao
Audio/Video: Xia Li, Sishi Cao, Jiayue Li, Siyi Liu, Xin Chen, Xiaoxi Li
Rap Music: Xin Chen
Voiceover: Xiaoxi Li, etc.
Poster: Jiayue Li

作品主题：
网络霸凌、动物权益、自由、背叛、孤独、理解

台词选段：
【说唱《游乐园》】
欢乐世界 / 我们一起游戏/ 疯狂地嬉戏
随机选中一个闪烁靶心/ 箭一脱手/ 只能继续前进/ 飞速地前进
吞没/ 将我吞没/ 欢呼扑向我/ 我爱这堕落
远去/ 看着我远去/ 奔向沸腾人群/ 我满心憧憬
最后发现终点不止一个/ 你我面面相觑不知所措
没关系/ 一起享受这美妙的时刻
……
（场外音）：它是不是普通的狗重要吗？现在外界都在说我们中心伪造证明！再说 了，哪有人不希望自己的狗是名贵品种？哪有人会刻意要求自己的狗是普通品种？说出去谁会相信？你自己信吗？你见过谁鉴宝的时候希望自己的宝物是假的？现在你只需要向外界澄清自己判断失误，我们道个歉就完了。如果再坚持说下去，保不准我们整个鉴定中心都会被上级审核调查！再说了，这么多年谁能保证自己的鉴定没有失误呢？你也是蠢，塞红包的过程也被拍下来，你要是不想被吊销执照你赶紧给我道歉！不然就卷铺盖滚蛋！
宠物医生：是，是，是，我知道怎么做了。
……
鉴狗专家三：大家好，我是 James Wild。我认为，这只狗长成这样完全是自然界的错误，是基因突变的产物，因为我从没有在美国文献中发现这种狗的存在。（其他两位专家听见后耳语了一番）据——说，（稍停顿）据说，麒麟狗来自中国的古老神话，它寓意着子孙满堂，多子多福，品德高尚，才高八斗，招财进宝，财富满贯，长命百岁，寿比南山，事业顺畅，家庭和睦，吉祥如意，繁荣昌盛。谢谢！
……
艺术家（亢奋地）：“您好动物园，我是一位当代艺术家。得知跳舞小狗死去的消息，我深表遗憾，我想买下小狗的遗体做成作品…… 名字我都想好了，就叫《生者对死者的无动于衷》。草间弥生说过：‘魔鬼是艺术的敌人，但更是它的盟友，如果不是为了艺术，我应该很早就自杀了。我成为了创作的囚犯，创作成为了我的医生。’ 对，她是这么说的。这将是一件伟大的作品，一座堆满尸体的动物园，不再有痛苦….. ”
动物园（打断）：“没问题啊，还有别的死了的都可以一起拉走。”

Poster © Jiayue Li

演职员表：
导演：敖玉敏
编剧：陈鑫（执笔），敖玉敏，李佳玥，刘思忆
演员：陈鑫，刘思忆，李佳玥，曹思诗，何平，Matheus
导演助理/舞台监督：李霞
服道化：李佳玥
灯光： 敖玉敏
音频/视频：李霞，曹思诗，李佳玥，刘思忆，陈鑫，李小溪
说唱词曲：陈鑫
场外音：李小溪等
海报：李佳玥

Attribution
Let me go by Steep, https://www.youtube.com/watch?v=WyIYoWm1Gio
The higher being by Wei Dou, https://www.youtube.com/watch?v=6j6saRRm9B0
Shameful Being Left Alone by Chu Zhang, https://www.youtube.com/watch?v=lUYUWf1a5tQ
音乐署名/来源
Steep乐队 Let me go，https://www.youtube.com/watch?v=WyIYoWm1Gio
窦唯《高级动物》，https://www.youtube.com/watch?v=6j6saRRm9B0
张楚《孤独的人是可耻的》，https://www.youtube.com/watch?v=lUYUWf1a5tQ

Acknowledgment
We extend our appreciation to Shuhan Miao, Zijun Li, Junjun Zhang, Hao Cui, Xiaofeng Wu, Pingping Zhu, Qiwen Deng, Yueming, Huanhuan Yang, and Yunshan Feng for their help in recording. We would like to especially thank Dr. Kai Zhang, Ulrich, Tong Zhang, Katharina, and Yu Hönicke, for all their great support.
致谢
感谢苗澍晗、李姿俊、张俊俊、崔昊、吴筱枫、朱平平、邓棋文、悦明、杨欢欢、冯韵珊为演出提供录音。也要特别感谢张凯博士、Ulrich，张桐、Katharina, Yu Hönicke 的大力支持。

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“Contemporary Theater Arts” Seminar Series No. 13
2022-10-28 14:00 - 15:30 | Online
Cantonese Opera in a Shakespearean Garb: An East-West Adaption Framework
Ying Ming Theater group
Assoc. Prof. Dr. Kelly Kar Yue Chan (陈家愉博士)
Date: October 28, 2022, 02pm – 03:30pm (Beijing Time 8pm – 09.30pm)
Online:
Join the event via ZOOM
Or by scanning the QR code:

Drama and performances are meticulously knitted with poetic and lyrical representations; poetry in turn conforms well to the dialogue-lyric-laden framework of plays and operas. Specifically in the case of Cantonese opera, it is inspiring to scrutinize the intimate relationship amongst the specific poetic structure, rhetorical features and their cultural implications manifested in performable genres during the process of translation and adaptation.
Over the last few decades, some attempts of adapting Shakespearean plays into Cantonese opera performances were witnessed. Well-known Shakespearean plays like Macbeth, Hamlet and Midsummer Night’s Dream have been reformatted and restored into localized Cantonese opera titles (starting from 1996, and in 2012 and 2015/2018 respectively), resulting from a breakaway of territorial and literary restrictions, and a merging of Eastern and Western essentials to supplement the original taste of these performances. For Chinese performance goers who are also familiar with English literary masterpieces, this creation subsequently serves as a brand-new knowledge transfer. In spite of some criticisms received for such adaptations for being “something in-between”, it is still worthy of sensible discussions about the value of their existence.

Short Bio:
Kelly Kar Yue CHAN completed her undergraduate degree and her master’s degree both in the discipline of Translation and Interpretation at the City University of Hong Kong. She then finished her PhD in Classical Chinese Literature at the University of Edinburgh, Scotland, UK. She is currently an Associate Professor in language and translation at Hong Kong Metropolitan University, teaching undergraduate and postgraduate courses on culture and translation, and literary translation. Her research interests include literary translation, translation of women’s poetry in pre-modern China, and translation of Cantonese opera.

陈家愉博士，获得香港城市大学翻译和口译学本科和硕士学位。毕业于英国苏格兰爱丁堡大学，获得中国古典文学博士学位。现任香港都会大学人文学院语言与翻译学副教授，教授文化与翻译、文学翻译等本科和研究生课程。她的研究兴趣包括文学翻译、前现代中国女性诗歌翻译和粤剧翻译。
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