Deutschsprachige Literaturwerke auf der Bühne in China: zur Frage der Adaption aus interkultureller Perspektive

Diese Dissertation beschäftigt sich mit der Adaption deutschsprachiger Literaturwerke im chinesischen Theater; der Fokus liegt dabei auf dem Sprechtheater vom 20. Jahrhundert bis in die Gegenwart. Zunächst ist darauf hinzuweisen, dass in China ursprünglich nur das traditionelle Musiktheater existier...

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Bibliographic Details
Main Author: Lu,Jiayuan
Contributors: Kaulen, Heinrich (Prof.Dr.) (Thesis advisor)
Format: Doctoral Thesis
Language:German
Published: Philipps-Universität Marburg 2018
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This dissertation addresses the adaptation of German literature in Chinese theatre, with a focus on spoken theatre from the 20th century to the present. First, it is significant that, historically, only traditional music theatre existed in China. Spoken theatre is a form of theatre introduced by the West, which was eventually established in China through the efforts of Chinese theatre artists. The adaptation of German-language literature is analysed from its emergence to the present through texts and performances to investigate the central question of how theatrical artists in China manage Chinese and foreign culture through intercultural adaptation. This dissertation also provides insights into how German-language literature has historically been received in Chinese theatre. More precisely, this study of cultural adaptation is divided into two sections which address distinct historical phases: the first half of the 20th century and the second half of the 20th century to the present. The turning point was the founding of the People's Republic of China in 1949. The first section thoroughly examines the plays published in China and focuses most centrally on texts. It compares German-language originals and adapted theatre texts in terms of plot, characters, language, religion, and customs. Comparative studies illustrate how German-language literature is received and used within the Chinese context. The second section of this dissertation presents the study of adaptation in the second phase, from 1949 to the present. Between the 1950s and the 1970s, spoken theatre in China endured challenges for political reasons; the number of plays staged through intercultural adaptation declined sharply. However, these plays once again flourished after the implementation of the ‚reform and opening-up‘ policy in 1978, which rendered the cultural exchange between China and abroad more intense. The materials used in this study are primarily comprised of video materials or notes from personal impressions while viewing the plays. As an observer, the author conducted a performance analysis. This is based on her personal aesthetic experience of these theatrical cultures, on the collected interview materials of the directors involved in intercultural adaptation in China, and on commentary concerning the performances from theatre magazines and the Internet. The examples provided illustrate how German-language literature has been received and developed in modern times since the end of the Cultural Revolution in China in 1976, and which new features and trends have emerged. The investigation focuses primarily on the stage, costumes, music, and acting.