Chinese Theories of Theater and Performance from Confucius to the Present

Through the writings of noted Chinese philosophers, scholars, artists, and critics from the time of Confucius to the present, this rich compendium provides a fascinating guided tour of China's evolving conceptions of theater and performance. The book's more than sixty selections are arranged chronologically to provide a historical overview of four major periods: antiquity to the Song dynasty (fourth century B.C.E.-1279 C.E.); the Yuan dynasty (1271-1368) and Ming dynasty (1368-1644); the Qing dynasty (1644-1911); and the rest of the twentieth century. The writings collected here treat the origins, aesthetic principles, and functions of theater. Some are virtual manuals on playwriting and performance techniques; some describe the practices, conditions, and government policies concerning theatrical performance. Many of the selections forcefully dispute the myth that Chinese theater is valuable in performance but lacking in literature--the fact is that there is an equal, if not more prominent, emphasis on theme and content. What emerges from the writings in Chinese Theories of Theater and Performance from Confucius to the Present is a highly evolved and sophisticated aesthetic. The texts are enhanced by Faye C. Fei's extensive introductions and annotative notes that provide essential background and contextual information. She has provided accurate and engagingly written translations of the texts, making the majority of them available in English for the first time. The anthology will appeal to teachers and students of theater and performance, artists interested in Chinese theater and arts, and scholars and historians of Asia. Literary critics, aestheticians, philosophers, and social scientists will also find the volume of interest, since Chinese conceptions of the theater and performance are closely connected to China's general outlook on the humanities. Faye C. Fei is Assistant Professor of Dramatic Arts, Macalester College. This anthology provides a fascinating guided tour of China's evolving conceptions of theater and performance through the writings of noted philosophers, scholars, artists, and critics. The book's selections, most translated here for the first time in English, present a chronological overview of four major periods: antiquity to the Song dynasty (fourth century B.C.-1279 A.D.); the Yuan dynasty (1279-1368) and Ming dynasty (1368-1644); the Qing dynasty (1644-1911); and the remainder of the twentieth century, contextualized with the editor's introduction and commentary. The writings treat the origins, aesthetic principles, and functions of theater. Some are virtual manuals on playwriting and performance techniques; some describe the practices, conditions, and government policies concerning theatrical performance. Many of the selections forcefully dispute the myth that Chinese theater is valuable only in performance but lacking in literature--in fact, there is an equal, if not more prominent, emphasis on theme and content. The book will be an invaluable resource to those interested in theater and performance, as well to students and teachers of Asian philosophy, history, and arts. -- Back cover "In this, the first anthology of its kind, editor and translator Faye C. Fei provides a guided tour of China's evolving conceptions of theater and performance through the writings of noted Chinese philosophers, scholars, artists, and critics. The book's more than sixty selections, the majority of which have been translated for the first time in English, are arranged chronologically to provide a historical overview of four major periods: antiquity to the Song dynasty (fourth century B.C.-1279 A.D.); the Yuan dynasty (1279-1368) and Ming dynasty (1368-1644); the Qing dynasty (1644-1911); and the remainder of the twentieth century."--Jacket "The writings treat the origins, aesthetic principles, and functions of theater. Some are virtual manuals on playwriting and performance techniques; some describe the practices, conditions, and government policies concerning theatrical performance. The book will be an invaluable resource to those interested in theater and performance, as well as to students and teachers of Asian philosophy, history, and arts."--Jacket Branchfire Bookmarks Part Two Yuan and Ming 鐘嗣成 錄鬼簿 杜仁傑 莊家不識勾欄 Part Three Qing 丁耀亢 李漁 +10 Preface Contents