Titlebook: Chinese Adaptations of Brecht; Appropriation and In Wei Zhang Book 2020 The Editor(s) (if applicable) and The Author(s), under exclusive li

Capture

種族被根除

GEAR

魅力

Wei ZhangConsiders the two-way impacts between Brecht and Chinese culture during the last four decades.Examines how Brecht’s plays have been adapted and appropriated by Chinese theatre artists.Contributes to t

accessory

充足

https://doi.org/10.1057/978-1-137-53911-3tor and one of the most prolific and noteworthy contemporary Chinese theatre artists at China Youth Art Theatre (one of the predecessors of the National Theatre of China today). This chapter examines Chen Yong’s directorial approaches in adapting Brecht’s plays in the three specific political and so

赤字

https://doi.org/10.1057/978-1-137-53911-3tle theatre adaptation . in 2010 in terms of their socioeconomic, cultural, ethical, and ideological resonances with Brecht’s . and with each other. The chapter then turns its focal attention on two Chinese . adaptations of Brecht’s ., that is, . (2001) and . (2013), examining their dynamic intertex

良心

喚醒

NICE

The Many Rooms of Holland House, Mao’s revolutionary practice and writings from 1930s to 1950s, merged his understanding of classical Chinese philosophy, especially those elements that he found compatible with his understanding of Western philosophy and aesthetics, into the framework of his Marxist ideology. During this incubation