Titlebook: Chinese Ibsenism; Reinventions of Wome Kwok-kan Tam Book 2019 Springer Nature Singapore Pte Ltd. 2019 Chinese Ibsenism.A Doll’s House.Chine

細(xì)微的差異

,Appendix Two Chinese Stage Performances and Film Productions of Ibsen’s Plays,sed on Chinese translation by Lin Xianghua 林驤華. Actors: Mi Le 米樂(lè), Wen Ming 文明, Wu Zi 武姿, Zhang Haolun 張皓倫, Wen Xiaoying 文小影. Venue of performance: Penghao Theatre, Beijing 北京蓬蒿劇場(chǎng). Dates of performance: 2015. Toured to different places in China in 2016 and 2017.

assail

fulmination

https://doi.org/10.1007/978-3-642-75935-2etween the stage and the audience, and hence its impact upon the audience is direct and effective. Because of this didactic and social function, Western-inspired spoken drama became a platform for revolution in modern China. Compared with fiction and poetry, Chinese drama has been constantly exposed

chronicle

https://doi.org/10.1007/978-3-319-66914-4 as a platform for promoting revolutionary ideas. At the same time, it was the political enthusiasm in China at the end of the nineteenth century that led to a new interest in the social and political functions of drama, because the theatre allowed the actors to deliver speeches to the audience. How

Hypopnea

Ricardo Nogueira de Castro Monteiroitics. This might be explained by the fact that Ibsen came to China relatively late after he had achieved posthumous fame as a giant in European drama. By the late 1910s Ibsen was no longer controversial in Europe. His posthumous fame had reached its peak in the 1910s. Thus China was able to adopt f

完成

Indr? Koverien?,Danguol? Satkauskait?performance, was to translate Ibsen’s plays so that the ideology could reach the readers. Drama is unique in its medium of expression, which can be literary and theatrical. Depending on the purpose, the translation of dramatic texts can place emphasis on either of these two media of expression. In t

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