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01:165:264 Chinese Drama & Performing Arts Asian Languages and Cultures Rutgers University Professor Dietrich Tschanz Fall 2011 Course Description: This course is designed as a survey of the Chinese theatrical tradition from its origins through the early 20th century. The main emphasis of the course is on Chinese drama as a performing art. Therefore, we will read the dramatic texts specifically for their theatrical aspects and interpret these texts within the context of the theatrical spaces, situations, and practices of the time when they were written and produced. All readings are in English. The course consists of several components: 1. lectures in which I will provide an outline history of Chinese drama from its origins to the early 20th century 2. analysis and interpretation of dramatic texts (in class) 3. analysis and interpretation of videotaped performances of select acts from our readings (in class) 4. individual and group exercises in the analysis and interpretation of both dramatic texts and videotaped performances (in the form of homework assignments) Course Objectives: After completing this course, students will be able to: name the most important dramatic texts and playwrights of the Chinese theatrical tradition and provide an outline of the development of Chinese drama analyze and interpret Chinese dramatic texts using a variety of methodologies and critical approaches commonly used in the field of Chinese drama/theater studies identify what makes the Chinese theatrical performance tradition unique among the world’s major performance traditions (Greco-Roman, Indian, Japanese, and Southeast Asian) deploy current information technologies to gather, select, analyze, and critically assess information (primary and secondary sources) related to performances of Chinese/East-Asian theater in the U.S. apply standard documentation styles such as MLA or APA to demonstrate that they understand how and why sources need to be properly cited as part of the research process The course meets the following Core Curriculum goals: II: Areas of Inquiry C: Arts and the Humanities p. Analyze arts and/or literatures in themselves and in relation to specific histories, values, languages, cultures, and technologies. (Note: already approved) The course also meets the following departmental learning goals for East Asian Languages and Area Studies (214): Majors will be able to demonstrate in-depth knowledge of the literature and culture of one or more East Asian countries (China, Japan, Korea); effectively use tools (reference works, etc.) and technology appropriate to learning an East Asian language; and, analyze issues concerning East Asia and relate them to other areas in the humanities and social sciences following an interdisciplinary approach. Frequency and Place of Meetings: The class meets twice a week, Mondays and Wednesdays 5th period (2:50 pm - 4:10 pm), in Scott Hall 119. Instructor: Dietrich Tschanz Scott Hall 337 Office hours: Monday 12 noon - 1 pm and by appointment 1 Email: [email protected] Phone: (732) 932-5596 (O) Class Website: Sakai (https://sakai.rutgers.edu/portal) Attendance and Participation: Attendance and participation in class discussion are important components of this course and can make a substantial difference in your final grade. Absences can be excused only if you are sick (please provide doctor’s note) or you observe a religious holiday. Assignments: Assignments for this class include: four 5-page papers; one group assignment (including oral presentation and 10-page research paper); and a number of small homework assignments. These assignments are due on the date they are listed in the schedule. Mid-Term: The mid-term examination will consist of three parts: 1. a section in which you will be asked to list items for a particular topic 2. a section in which you will be asked to define or discuss certain key terms; and 3. an essay section in which I will ask you to write on the content, form, or other aspects of the material we covered in class. Final: The final follows the same format as the mid-term. Although it will be not cumulative, there will be certain questions for which you will have to make connections between later and earlier material. Grading: Class attendance and participation: 10% Homework Assignments: 5% Group Assignment: 10% Essay Assignments: 25% Mid-term: 25% Final 25% Required Texts: Stephen H. West and Wilt L. Idema, trans. Monks, Bandits and Immortals: Eleven Early Chinese Plays. Indianapolis: Hackett Publishing Company, Inc., 2010. ISBN-13: 978-1-60384-200-6 Tang Xianzu. The Peony Pavilion. Trans. Cyril Birch. Bloomington: Indiana University Press, 2002. ISBN-13: 978-0253215277 These books will be available at the Rutgers Bookstore in Ferren Mall (opposite of NJ Transit Train Station). All other texts will be available in electronic format on the Sakai website for this class under “Resources”. Course Schedule for 264 Chinese Drama West/Idema = Stephen H. West and Wilt L. Idema, trans. Monks, Bandits and Immortals Sakai = Class website on Sakai (https://sakai.rutgers.edu/portal) Week/Session Week 1 W 9/7 Th 9/8 Week 2 M 9/12 Main Topic Reading & Writing Assignments Introduction The Chinese Actor and Actor Training Gai, Jiaotian. "How I first learned to act" (Sakai) Video: Excerpts from "Farewell My Concubine" (in class) The Chinese Stage Mei Lanfang. "Hegemon King Says Farewell to His Queen." Please read Scenes 1 through 7 (Sakai) "Types of Stages from the Yuan Through the Qing Dynasty" (Sakai) 2 Video: Excerpts from "Farewell My Concubine" (in class) The Female Impersonator Hu Shi, "Mei Lan-fang and the Chinese Drama" (Sakai) "What the Chinese See in Mei Lan-fang" (Sakai) "The Origin and Place of the Female Impersonator in the Chinese Drama" (Sakai) Senelick, “China Trade” (Sakai) M 9/19 Mei Lanfang’s U.S. Tour of 1930 Mei Lanfang. "Hegemon King Says Farewell to His Queen." Please read Scenes 8 and 9 (Sakai) Chi Ju-Shan. "A Brief Consideration of the Outstanding Peculiarities of the Old Chinese Drama" (Sakai) VCD: Excerpts from Mei Lanfang's performance of "Hegemon King Says Farewell to His Queen" (1957) (in class) W 9/21 Group 1: Critical review of Mei Lanfang's New York performances in 1930 The Origins of Chinese Theater Huangpu Chongqing, “Nuo Theatre in Guizhou Province” Local Opera Traditions (Sakai) in Rural Areas "Chronological Chart of the Different Elements in Chinese Theatre" (Sakai) W 9/14 Week 3 Essay 1: Analysis of Queen Yu's Character in "Hegemon King" Week 4 M 9/26 W 9/28 Yuan Dynasty (1279-1368) Theatre Guan Hanqing. "Lord Guan Goes to the Feast." Please read Between Ritual and Acts 1-3 (Sakai) Theatre Dale Johnson. "The Poetic and Musical Structure of the Yuan Variety Play" (Sakai) Read Act 4 of "Lord Guan Goes to the Feast" (Sakai) Cont. Group 2: Critical review of the performance of David Henry Hwang’s play M. Butterfly (1988) Week 5 M 10/3 W 10/5 Yuan Stage and Performance Practices Courtroom Plays “Zhongli of Han Leads Lan Caihe to Enlightenment.” Please read all four acts in West/Idema, pp. 291-313. Guan Hanqing. "Moving Heaven and Shaking Earth: The Injustice to Dou E." Please read Prologue and Acts 1-2 in West/Idema, pp. 9-24 Week 6 M 10/10 Cont. Guan Hanqing. ""Moving Heaven and Shaking Earth: The Injustice to Dou E." Please read Acts 3-4 in West/Idema, pp. 24-36 W 10/12 Love Comedy Week 7 M 10/17 Love Tragicomedy Group 3: Bertolt Brecht and Chinese Drama Guan Hanqing. “The Beauty Pining in Her Boudoir: The Pavilion for Praying to the Moon.” Please read all four acts of the play in West/Idema, pp.83-104. Bai Pu. “The Autumn Nights of the Lustrous Emperor of the Tang: Rain on the Wutong Tree.” Please read all four acts of the play in West/Idema, pp. 113-154. 3 W 10/19 Love Tragedy Review for Midterm Week 8 M 10/24 W 10/26 Essay 2: The Relationship between Individual and Family in Chinese Drama Ma Zhiyuan. “Breaking a Troubling Dream: A Lone Goose in Autumn over the Palaces of Han.” Please read all four acts of the play in West/Idema, pp. 161-194 Midterm Exam Ming Dynasty (1368-1644) Theatre Brief Review of Mid-term Southern Plays (Nanxi) Gao Ming (1305-1368). The Lute. Please read the Prologue and Scenes 19, 20, and 24 (Sakai) Week 9 M 10/31 Cont. Gao Ming. The Lute. Please read Scene 28 (Sakai) Video: Excerpts from a performance of Scene 28 (in class) W 11/2 Cont. Gao Ming. The Lute. Please read Scenes 34 and 36 (CP 163170) Group 4: Critical review of Sidney Howard and Bill Irwin’s adaptation of Lute Song (1946) W 11/9 Ming Dynasty Marvel Tale Plays (Chuanqi) Cont. Tang Xianzu. The Peony Pavilion. Please read Scenes 1-3, 78 Tang Xianzu. The Peony Pavilion. Please read Scenes 9, 10, and 12. DVD: Excerpts from the New York production of The Peony Pavilion (in class) Video: Performance of "Pursuing the Dream" Week 11 M 11/14 Cont. Tang Xianzu. The Peony Pavilion. Please read Scenes 14, 16, 23, 24. W 11/16 Cont. Week 10 M 11/7 Essay 3: The Use of Imagery in Chinese Drama Tang Xianzu. The Peony Pavilion. Please read Scenes 28, 35, 36, 48, 53, and 55. Group 5: Critical Review of Chen Shi-zheng's New York Production of The Peony Pavilion (1999) Week 12 M 11/21 W 11/23 Week 13 M 11/28 W 11/30 Week 14 M 12/5 W 12/7 Xu Wei. “Mulan.” (Sakai) Late Ming and Early Wu Weiye. “Spring Pavilion.” (Sakai) Qing Variety Play Thanksgiving Recess. No Class. Qing Dynasty (1644-1911) Theater Hong Sheng. The Palace of Eternal Youth (Sakai) Love Tragicomedy Hong Sheng. The Palace of Eternal Youth (Sakai) Cont. Cont. Cont. Hong Sheng. The Palace of Eternal Youth (Sakai) Hong Sheng. The Palace of Eternal Youth (Sakai) Group 6: Western Perceptions of Traditional Chinese Drama Week 15 M 12/12 Fr 12/23 Review & Conclusion Final Exam Friday, December 23, 2011, 12 noon-3:00 pm 4 5