Shashibiya is an intriguing discussion of the levels of 'filtering'
that any Shakespeare performance in China undergoes, and a close
examination of how these filters reflect the continually-changing
political, social and cultural practices. The study traces the
history of Shakespeare performance in China over the past hundred
years, focussing in detail on eleven productions in mainstream,
operatic and experimental forms in the post-Mao era. Li Ruru's
intimate knowledge of her subject makes this the most up-to-date
research available on staging Shakespeare in China.
Subjects: Performing Arts
Table of Contents
You are viewing the table of contents
You do not have access to this
on JSTOR. Try logging in through your institution for access.