Abstract
This thesis explores the adaptation of Shakespeare into traditional Chinese opera, a practice that emerged in the early 20th century. Despite initial scepticism, these adaptations have evolved to play a significant role in Chinese performance tradition, enhancing its thematic scope and providing a bridge for Chinese audiences to access Western literary masterpieces.The comprehensive art form of Chinese opera incorporates singing, dialogue, acting, and acrobatics to convey stories. It emphasises the essence of the performing over the thematic content, in contrast to the complex, multi-threaded narratives typical of Shakespeare. This necessitates significant reductions and refinements when adapting Shakespeare to fit the aesthetic and narrative style of Chinese opera.
This thesis examines the challenges of adapting intricate Shakespearean plays within the constraints of Chinese opera’s conventions. It considers the universal challenges and specific adaptations required to maintain the integrity of the source works while making them accessible and resonant for Chinese audiences. The process of Sinicisation of these operas often emphasises local operatic conventions at the potential expense of the source material’s humanistic essence, leading to a focus on performative aspects such as vocal performance and martial arts sequences. The thesis examines the inherent tension between the symbolic and lyrical nature of traditional Chinese theatre and the realism of Western theatre, while also acknowledging that Shakespeare’s bare stage shares similarities with the minimalistic staging conventions of Chinese theatre. This structural affinity facilitates adaptation, allowing Shakespearean plays to be adapted within Chinese operatic traditions. Through eight case studies on four of Shakespeare’s plays—Macbeth, Hamlet, King Lear, and The Merchant of Venice—the thesis highlights the reciprocal influence between Eastern and Western theatrical traditions.
Through this lens, the thesis explores how Chinese theatrical artists have localised and adapted Shakespearean plays, identifying and interpreting qualities that resonate between Shakespearean tragedies, comedies and Chinese opera. This adaptation process reflects broader themes of globalisation and localisation in the arts, underscoring the dynamic and evolving relationship between Eastern and Western cultural expressions in contemporary theatre. By combining the distinctive qualities of Chinese opera with the rich narratives of Western drama, these productions not only revitalised traditional forms but also paved the way for the emergence of new artistic expressions. Such innovations are crucial for the continued relevance and development of traditional arts, as they encourage a dialogue between different cultural traditions, enriching both the source and the adapted forms. In doing so, these adaptations contribute to a global theatrical landscape that celebrates diversity, encourages experimentation, and fosters a deeper understanding and appreciation of the universal themes that connect different cultures.
| Date of Award | 1 Apr 2025 |
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| Original language | English |
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| Supervisor | Sonia Massai (Supervisor) & John Lavagnino (Supervisor) |