Bibliografia: Cina

scarica in PDF

Opere in lingua italiana

AA. VV., Il teatro cinese antico e moderno (introduzione di Lin Yutang), Milano, Bompiani, 1957, ill. (N° 140 monografico della rivista “Sipario”, dic. 1957).

AA. VV., L’Opera di Pechino. Premessa di Nanni Balestrini, Edoardo Sanguineti, Milano, Feltrinelli, 1971.

AA. VV., La Cina a Venezia, Firenze, Napoli: il teatro musicale di Suzhou nell’ambito del gemellaggio Venezia-Suzhou, Venezia, Teatro La Fenice, 1982.

AA.VV., Ombre elettriche. Saggi e ricerche sul teatro cinese, Milano, Electa, 1982.

AMATO, Luigi Orione, Una biografia di Mei Lanfang (attore cinese), tesi di laurea, Università di Bologna, 1997, inedita.

AZZARONI, Giovanni, Teatro in Asia, vol. III, Tibet, Cina, Mongolia, Corea, Bologna, Clueb, 2003.

CASARI, Matteo, Teatro, vita di Mei Lanfang. Con la traduzione integrale di Addio mia concubina nella versione di Mei Lanfang, Bologna, Clueb, (collana Quaderni di teatro in Asia e in Africa/ Collana diretta da Giovanni Azzaroni ; 1), 2003.

CONTIN, Claudia, Progetto sciamano anno 2001: incontri col teatro cinese della Scuola sperimentale dell’attore, Pordenone, Amministrazione provinciale, stampa 2001.

FERRARI, Rossella, Da Madre Courage e i suoi figli a Jiang Qing e i suoi mariti. Percorsi brechtiani in Cina, Venezia, Cafoscarina (collana Cina e Altri Orienti. Tascabili; 7), 2004.

GUIDI, Alessandro, Lo Yueji: il pensiero musicale nella Cina, Bologna, CLUEB, 2005.

HO Tsin-ci e Din-ni, La fanciulla dai capelli bianchi. Dramma in cinque atti e diciannove quadri, s.l., Edizioni di Cultura Sociale, 1952.

LI Ying, Il teatro realista cinese dell’ultimo ventennio (1990-2010) : potente specchio dei mutamenti socio-economici e culturali, Perugia, Morlacchi editore U.P., 2018.

L’Opera di Pechino. Compagnia dell’Opera di Pechino dello Yunnan. – Programma di sala dello spettacolo all’Opera di Roma nel 1980. – Roma, Ente Autonomo del Teatro dell’Opera, 1980.

L’Opera di Pechino, Beijing Yuoth Jingju Troupe. Teatro dell’Opera di Pechino. Programma di sala pubblicato in occasione della tournée in Italia negli anni novanta con la partecipazione di STET, s.l. : s.n., s.d.

PILONE, Rosanna, Teatro in Cina, Bologna, Cappelli, 1966.

PILONE, Rosanna, Oltre la maschera. Storie di ragazzi d’opera cinese, Milano, International Cultural Exchange, 1995.

PILONE, Rosanna, RAGAINI, Sabina, YU WEIJIE (eds.), Teatro cinese: architetture, costumi, scenografie, Milano, Electa, 1995. (Catalogo della Mostra tenuta a Milano nel 1995).

PISU, Renata, TOMIYAMA Haruo, L’Opera di Pechino. Prefazione di Marcel Marceau, Milano, Mondadori, 1982.

RUGGIERO, Antonio, L’Opera di Pechino durante la rivoluzione culturale: una parentesi innovatrice nel teatro tradizionale cinese, Cosenza, Presenze, 1985.

SAVARESE, Nicola, Il racconto del teatro cinese, Roma, Carocci, 2003 (1° ed. 1997).

YU WEIJIE, PILONE Rosanna, RAGAINI Sabina, Tradizione e realtà del teatro cinese – dalle origini ai giorni nostri, Milano, International Cultural Exchange, 1995.

Opere in altre lingue

AA.VV., Taking Tiger Mountain by Strategy. A Modern Revolutionary Peking Opera, Peking, Peking Opera Troupe of Shanghai, 1971.

AA.VV., Peking Opera and Mei Lanfang. A Guide to China’s Traditional Theatre and the Art of Its Great Master, Peking, New World Press, 1981.

AA. VV., Puppetry of China: a Rare Exhibition of Figures which Illustrate the Four Styles of Chinese Puppet Theatre, Atlanta, Center for Puppetry Arts, 1984.

ALLEY, Rewi, Introduction a l’opera de Pékin (photos d’Eva Saio; dessins de Kouan Liang), Pekin, Librairie du Nouveau monde, 1984.

ARLINGTON, Lewis Charles, The Chinese Drama from the Earliest Times Until Today, New York, Benjamin Blom Inc., 1966.

BIRCH, Cyril, Scenes for Mandarins: The Elite Theater of the Ming, New York, Columbia University Press, 1999.

BIRCH, Cyril (translator), The Peony Pavilion. Mudan Ting, Second Edition, Bloomington and Indianapolis, Indiana University Press, 2002.

BIRCH, Cyril (translator and editor), Mistress & Maid (Jiaohongji), by Meng Chengshun, New York, Columbia University Press, 2001.

BONDS, Alexandra B., Beijing Opera Costumes: the Visual Communication of Character and Culture, Honolulu, University of Hawai’i Press, 2008.

BOUVIER, Hélène, TOFFIN, Gérard, Théâtres d’Asie à l’oeuvre. Circulation, expression, politique, Paris, EFEO, 2012.

BROMAN, Sven, Chinese Shadow Theatre, Stockholm, Etnografiska Museet/Ethnographical Museum of Sweden, 1981.

BROMAN, Sven, Chinese Shadow Theatre Libretti, Bangkok, White Orchid Books, 1994.

BURGER, Helga, L’opera chinoise, Paris, Denoel, 1982.

BUTEL, Yannick, Les théâtralités de l’apparition: la scène et les encres de Gao Xingjian. Suivi de Monologue et De l’art du jeu de Gao Xingjiang traduit par Denis Molcanov. Aix-en-Provence, Presses universitaires de Provence, 2015.

CAPDEVILLE-ZENG, Catherine, Le théâtre dans l’espace du peuple: une enquête de terrain en Chine, Paris, Indes savantes, 2012.

CHANG, Donald K., MITCHELL, John D. (translators), The Fox Cat Substituted for the Crown Prince: A Peking Opera Set in the Song Dynasty, Midland, MI, Northwood Institute Press, 1985.

CHANG Dongshin, Representing China on the Historical London Stage: From Orientalism to Intercultural Performance,  London, Routledge, 2015.

CHANG, H.C., Chinese Literature. Popular Fiction and Drama, Edimburgh, Edinburgh University Press, 1973.

CHANG Pe-Chin, Chinese Opera and Painted Face, Taipei, Mei Ya Publications, 1969.

CHEN Chih-hsiang, ACTON, Harold (tr.), The Peach Blossom Fan (T’ao-hua-shan, by K’ung Shang-jen, 1648-1718), Berkeley, University of California Press, 1976.

CHEN, Jack, The Chinese Theatre, illustrated by the author, New York, Roy Publishers, 1948.

CHEN, Jack, Shadow Theatre, Beijing, Folk Arts of New China Foreign Language Press, 1954.

CHEN Xiaomei (ed.), The Columbia Anthology of Modern Chinese Drama. Abridged, New York, Columbia University Press, 2014.

CHEN Xiaomei, Staging Chinese Revolution. Theater, Film, and the Afterlives of Propaganda, New York, Columbia University Press, 2016.

CHEN Xiaomei (ed.), The Columbia Anthology of Modern Chinese Drama, New York, Columbia University Press, 2010.

CHEN Xiaomei, Acting the Right Part: Political Theater and Popular Drama in Contemporary China. Honolulu, University of Hawai’i Press, 2002.

CHEN Xiaomei, LI-MIN CHUN Tarryn, LIU Siyuan (eds.),  Rethinking Chinese Socialist Theaters of Reform. Performance Practice and Debate in the Mao Era, Ann Arbour, University of Michigan Press, 2021.

CHICAGO Smart Museum of Art, Performing Images: Opera in Chinese Visual Culture, catalogue, Chicago University of Chicago Press, 2014.

CHIANG Ch’ing, On the Revolution of Peking Opera, Beijing, Foreign Language Press, 1968.

CHIAO Ch’eng Chih, Le théâtre chinois d’aujourd’hui, Paris, Droz, Génève, Slatkine, 1977.

CHICAGO Smart Museum of Art, Performing Images: Opera in Chinese Visual Culture, catalogue, Chicago University of Chicago Press, 2014.

CHING-HSI Perng, Double Jeopardy. A Critique of Seven Yüan Courtroom Drama, Ann Arbour, University of Michigan Press, 1978.

CHU Kun-liang, Les aspects rituels du théâtre chinois, Paris, Collège de France-Institut des Hautes Études Chinoises, 1991.

CHUHFANG FEI, Faye, Chinese Theories of Theatre and Performance from Confucius to the Present, Ann Arbour, University of Michigan Press, 1991.

CHUNG-WEN Shi, The Golden Age of Chinese Drama – Yuan Tsa-chu, Princeton, Princeton University Press, 1976.

CONCEISON, Claire, Significant Other: Staging the American in China, Honolulu, University of Hawai’i Press, 2004.

COULTER, T., Transcultural Aesthetics in the Plays of Gao Xingjian, London, Palgrave Macmillan, 2014.

COYAUD Maurice, LEUNG Angela K., Les Operas des Bords de l’Eau: Theatre Yuan, XIII-XIV siecles, Paris, CNRS, 1975.

CRUMP, J.I., MALM, William P. (eds.), Chinese and Japanese Music-Dramas, Ann Arbor, University of Michigan Press, 2020.

CRUMP, J.I., Chinese Theater in Days of Kublai Khan, Ann Arbor, University of Michigan Press, 1991.

DARROBERS, Roger, Le théâtre chinois, Paris, Presses Universitaires de France, 1995.

DeMARE, Brian James, Mao’s Cultural Army. Drama Troupes in China’s Rural Revolution, Cambridge, Cambridge University Press, 2015.

DOLBY, William, A History of Chinese Drama, London, P. Elek, 1976. 

DOLBY, William, Eight Chinese Plays from the Thirteenth Century to the Present, New York, Columbia University Press, 1978.

DUCHESNE, Isabelle (ed.), Red Boat on the Canal: Cantonese Opera in New York Chinatown. New York, Museum of Chinese in Americas, 2000.

EBERSTEIN, Bernd, Das Chinesische Theater im 20-Jahrhundert, Wiesbaden, Harrassowitz, 1983.

FAN-PEN LI CHEN, Chinese Shadow Theatre: history, popular religion, and women warriors, Quebec, McGill Queen’s Press, 2007.

FAN-PEN LI CHEN, Visions for the Masses: Chinese Shadow Plays from Shaanxi and ShanxiHonolulu, University of Hawai’i Press, Cornell East Asia Series #121, 2010.

FENG Wei, Intercultural Aesthetics in Traditional Chinese Theatre. From 1978 to the Present, London, Palgrave Macmillan, 2020.

FERRARI, Rossella, Transnational Chinese Theatres. Intercultural Performance Networks in East Asia, London, Palgrave Macmillan, 2020.

FERRARI, Rossella, THORPE, Ashley, Asian City Crossings. Pathways of Performance through Hong Kong and Singapore, London, Routledge, 2021.

FU Quiumin, L’art théâtral de Mei Lanfang, Paris, Your-feng, 1988.

GAMBLE, Sidney David, Chinese Village Plays from the Ting Hsien Region (Yang Ke Hsuan): a Collection of Forty-eight Chinese Rural Plays, translated from the Chinese by various scholars, Amsterdam, Philo press, 1970.

GAO Xingjian, City of the Dead and Song of the Night, Translated by Gilbert C. F. Fong and Mabel Lee, New York, Columbia University Press, 2016.

GAO Xingjian, FORSTER-LATSCH Helmut, Latsch Marie-Luise, Flucht: eine moderne Tragödie, Bochum, Brockmeyer, 1992.

GAO Xingjian, Dialoguer Interloquer, s.l., MEET, 1993.

GAO Xingjian, Le somnambule, Wallonie, Editions Lansman, 1995.

GAO Xingjian, La fuite, Wallonie, Editions Lansman, 1992.

GAO Xingjian, The Other Shore: Plays by Gao Xingjian, New York, Columbia University Press, 1999.

GAO Xingjian, Snow in August, New York, Columbia University Press, 2002.

GEE, Tom, Stories of Chinese Opera. Taipei, Liberal Arts Press, 1978.

GIBBS, Levi S., Song King: Connecting People, Places, and Past in Contemporary China, Honolulu, University of Hawai’i Press, 2018.

GOLDSTEIN, Joshua, Drama Kings: Players and Publics in the Re-creation of Peking Opera, 1870-1937, Berkeley, University of California Press, 2007.

GREENE, Maggie, Resisting Spirits: Drama Reform and Cultural Transformation in the People’s Republic of China, Ann Arbor, University of Michigan Press, 2019.

GUNN, Edward M., (ed.), Twentieth Century Chinese Drama. An Anthology, Bloomington, Indiana University Press, 1983.

GUY, Nancy, Peking Opera and Politics in Taiwan, Urbana and Chicago, University of Illinois Press, 2005.

HALSON, Elizabeth, Peking Opera. A Short Guide, Oxford, Oxford University Press, 1982.

HAWKES, David (tr.), Liu Yi and the Dragon Princess: A Thirteenth-Century Zaju Play by Shang Zhongxian, Hong Kong, The Chinese University Press, 2003.

HAYDEN, G. A., Crime and Punishment in Medieval Chinese Drama. Three Judge Pao Plays, Cambridge Mass., Harvard University Press, 1978.

HAYOT, Eric, Chinese Dreams. Pound, Brecht, Tel Quel, Ann Arbor, University of Michigan Press, 2011.

HELMER STALBERG, R., China’s Puppets, San Francisco, China Books, 1983.

HENRY, E. P., Chinese Amusement. The Lively Plays of Li Yü, Hamdem, Archon Books, 1980.

HO, Virgil K.Y., Understanding Canton: Rethinking Popular Culture in the Republican Period. Oxford, Oxford University Press, 2005.

HOWARD, Joshua H., Composing for the Revolution: Nie Er and China’s Sonic Nationalism, Honolulu, University of Hawai’i Press, 2020.

HOWARD, R., Contemporary Chinese Theatre, London, Heinemann Educational Books, 1978.

HSIA, C.T., LI Wai-Yee, KAO, George (eds), The Columbia Anthology of Yuan Drama, New York, Columbia University Press, 2014.

HSU Tao-ching, The Chinese Conception of the Theatre, Seattle and London, University of Washington Press, 1985.

HUAI Bao, Cross-Gender China. Across Yin-Yang, Across Cultures, and Beyond Jingju,  London, Routledge, 2018.

HUANG, Alexander C. Y., Chinese Shakespeares: Two Centuries of Cultural Exchange, New York, Columbia University Press, 2009.

HUANG Shang, Tales from Pekin Opera, Beijing, New World Press, 1985.

HUANG Shang, Tales from Peking Opera, Beijing, New World Press, 1985.

HUBER, Jörg, ZHAO Chuan, The Body at Stake: Experiments in Chinese Contemporary Art and Theatre, Bielefeld, Transcript Verlag, 2013.

HUNG, Josephine Huang, Children of the Pear Garden. Five Plays from the Chinese Opera, Taipei, Heritage,1961.

HUNG, Josephine Huang, Ming Drama, Taipei,1966.

HUNG, Josephine Huang, Classical Chinese Plays, Second edition, Taipei, Mei Ya Publications, 1971.

HUNG, Josephine Huang, The Jewel Bag: A Chinese Classical Play (A Traditional Chinese Play Translated and Adapted with an Introduction and Stage Directions), Taipei, Mei Ya Publications, 1974.

HUNG, Josephine Huang, For Love and Justice: Chuan Chiao Chi Yuan, Taipei, Mei Ya Publications, 1981.

HUNG, Josephine Huang, A Handful of Snow: A Traditional Chinese Play. Translated, adapted, and annotated, with an introduction, by Josephine Huang Hung, Taipei, Taiwan, Mei Ya Publications,1993.

IDEMA, Wilt Lukas, The Metamorphosis of Tianxian pei. Local Opera Under the Revolution (1949-1956), New York, Columbia University Press, 2015.

IDEMA, W. L., WEST, S. H., Chinese Theatre 1100-1450. A Source Book, Munchener Ostasiatische Studien Band, Weisbaden, Steiner, 1982.

JI Junxiang, L’Orphelin de Zhao: Drame chinois en cinq actes et un prologue, Paris, Edition Christine Corniot, 1993.

JIANG Jin, Women Playing Men: Yue Opera and Social Change in Twentieth-Century Shanghai, Seattle and London, University of Washington Press, 2009.

JIN FU, A history of Chinese theatre in the 20th century. IV, London, Routledge, 2021.

JIN FU, A history of Chinese theatre in the 20th century. III, London, Routledge, 2021.

JIN FU, A history of Chinese theatre in the 20th century. II, London, Routledge, 2020.

JIN FU, A history of Chinese theatre in the 20th century. I, London, Routledge, 2020.

JOHNSON, Dale R., Yuarn Music Drama: Studies in Prosody and Structure and a Complete Catalogue of the Northern Arias in the Dramatic Style, Ann Arbor, University of Michigan Press, 1980.

JOHNSON, Dale R., A Glossary of Words and Phrases in the Oral Performing and Dramatic Literatures of the Jin, Yuan, and Ming, Ann Arbor, University of Michigan Press, 2000.

JOHNSON, David, Spectacle and Sacrifice: The Ritual Foundation of Village Life in North China, Cambridge, MA, Harvard East Asia Center, 2009.

KOLVODOVA, S. V., Chinese Theatre, New York, Columbia University Press, 1980.

KUANG, Rong, Fifteen Strings of Cash, Beijing, Foreign Languages Press, 1982.

KUO Mo-jê, LIANG Pai-tchin, K’iu Yuan, Paris, Gallimard, 1957.

KUOSHU, Harry H., Lightness of Being in China: Adaptation and Discursive Figuration in Cinema and Theatre, New York, Peter Lang, 1999.

KWA, Shiamin, IDEMA, Wilt L. (eds.), Mulan: Five Versions of a Classic Legend, with Related Texts, Indianapolis/Cambridge, Hackett Publishing Company, 2010.

LAI, Jane C.C., An Oxford Anthology of Contemporary Chinese Drama, Hong Kong, Oxford University Press, 1997

LAI, Stan, Selected Plays of Stan Lai. Volume 1: Secret Love in Peach Blossom Land and Other Plays, edited by Lissa Tyler Renaud, Ann Arbor, University of Michigan Press, 2021.

LAI, Stan, Selected Plays of Stan Lai. Volume 2: The Village and Other Plays, edited by Lissa Tyler Renaud, Ann Arbor, University of Michigan Press, 2021.

LAI, Stan, Selected Plays of Stan Lai. Volume 3:A Dream Like a Dream and Ago, edited by Lissa Tyler Renaud, Ann Arbor, University of Michigan Press, 2021.

LAO He, Les retrouvailles: pièce en 3 actes et 7 tableaux, Paris, Université Paris 7. Centre de publication Asie orientale, 1977.

LATSCH, M-L., Peking Opera – As an European See It, Beijing, New World Press, 1980.

LAU, J.S.M., Ts’ao Yü the Reluctant Disciple of Chekhov and O’Neill. Study in Literary Influence, Hong Kong, Hong Kong University Press, 1970.

LEE, Tong Soon, Chinese Street Opera in Singapore, Urbana and Chicago, University of Illinois Press, 2009.

LEI, Daphne P., Uncrossing the Borders. Performing Chinese in Gendered (Trans)Nationalism, Ann Arbor, University of Michigan Press, 2019.

LEI, Daphne Pi-Wei, Operatic China: Staging Chinese Identity Across the Pacific, New York, Palgrave Macmillan, 2006.

LEVITH, Murray J., Shakespeare in China, London, Bloomsbury Arden Shakespeare, 2015.

LIANG Luo, The Global White Snake. Tracing the history and adaptation of one of China’s foundational texts, Ann Arbor, University of Michigan Press, 2021.

LIANG Luo, The Avant-Garde and the Popular in Modern China. Tian Han and the Intersection of Performance and Politics, Ann Arbor, University of Michigan Press, 2014.

LIANG Peilin, Bodies and Transformance in Taiwanese Theater, London, Routledge, 2020.

LI Hsiao-t’i, Opera, Society, and Politics in Modern China, Leyden, Brill, 2019.

LILLEY, Rozanna, Staging Hong Kong: Gender and Performance in Transition, Honolulu, University of Hawai’i Press, 1999.

LI Nianpei, Old Tales of China: A Book to Better Understanding of China’s Stage, Cinema, Arts and Crafts (Illustrated by Pang Xiquan, Sun Yizeng and Li Binsheng), Singapore, Graham Brash Ltd, 1987.

LI Nianpei (translator and editor), The Beating of the Dragon Robe: A Repertoire of Beijing Opera Synopses of 100 Most Popular Pieces (Illustrated by Dong Chensheng), Co-published by Joint Publishing (H.K.) Co., Ltd., Hong Kong, and China Travel and Tourism Press, Beijing, 1988.

LI Shau Chwun, Wild Boar Forest (Edited by Donald Chang and John D. Mitchell), Midland, MI, Northwood Institute, 1976.

LI Siu Leung (Edward Siu-leung), Cross-Dressing in Chinese Opera, Hong Kong, Hong Kong University Press, 2003.

LIU Jilin, Le théâtre d’ombre chinois, Beijing, Editions Aurore, 1987.

LIU Jilin, Chinese Shadow Puppet Plays, Beijing, Morning Glory Publishers, 1988.

LIU Sinyuan, Transforming Tradition. The Reform of Chinese Theater in the 1950s and Early 1960s, Ann Arbor, Michigan University Press, 2021.

LIU Sinyuan, Performing Hybridity in Colonial-Modern China, New York, Palgrave Macmillan US, 2013.

LI Xiao, Chinese Kunqu Opera (Translated by Li Li and Liping Zhang), South San Francisco, Long River Press; Shanghai, Shanghai Press and Pub. Dev. Co., 2006.

Li Yu, A Couple of Soles. A Comic Play from Seventeenth-Century China, translated by Jing Shen and Robert E. Hegel, New York, Columbia University Press, 2019.

LLAMAS, Regina S. (ed), Top Graduate Zhang Xie. The Earliest Extant Chinese Southern Play, Translated and Introduced by Regina S. Llamas, New York, Columbia University Press, 2021.

LOPEZ, M. D., Chinese Drama. An Annotated Bibliography of Commentary, Criticism and Plays in English Translation, London, The Scarecrow Press Inc., 1991.

LU, Lisa (tr.), The Romance of the Jade Bracelet and Other Chinese Operas, San Francisco, Chinese Materials Center Inc., 1980.

LU, S., Face Painting in Chinese Opera, Singapore, MPH Publications, 1968.

LU, S., Facial Symbolism in Chinese Opera, Singapore, MPH Publications, 1968.

LUK Yun-Tong, Studies in Chinese-Western Comparative Drama, New York, Columbia University Press, 1990.

LYNN, R. J., Guide to Chinese Poetry and Drama, Boston, Bailey, Hall & Co., 1984.

MA Qian (tr.), Women in Traditional Chinese Theater: The Heroine’s Play, Lanham, MD, University Press of America, 2005.

MACKERRAS, Colin, The Rise of Pekin Opera 1770-1870. Social Aspects of the Theatre in Manchu China, Oxford, Clarendon Press-Oxford University Press, 1972.

MACKERRAS, Colin, Social Aspects of the Theatre in Manchu China, Oxford, 1972.

MACKERRAS, Colin, Amateur Theatre in China 1949-1966, Camberra, 1973.

MACKERRAS, Colin, The Performing Arts in Contemporary China, London, Routledge and Kegan Paul, 1981.

MACKERRAS, Colin, Chinese Drama. A Historical Survey, Beijing, New World Press, 1990.

MACKERRAS, Colin,The Chinese Theatre in Modern Times: From 1840 to the Present Day, London, Thames and Hudson, 1975.

MACKERRAS, Colin, Chinese Theater from Its Origins to the Present Day, Honolulu, University of Hawai’i Press, 1988.

MAIR, Victor H., Painting and Performance. Chinese Picture Recitation and Its Indian Genesis, Honolulu, University of Hawai’i Press, 1988.

MARTIN Rose, CHEN, Ruohan, The People’s Dance. The Power and Politics of Guangchang Wu,  London, Palgrave Macmillan, 2020.

MAYER, Fred, BURGER, Helga, Chinesische Oper, Zürich, Bär Verlag, 1982.

MCDOUGALL, B. S., (ed.), Popular Chinese Literature and Performing Arts in the People’s Republic of China (1949-1979), Berkeley, University of California Press,1984.

MEI LANFANG, Autobiography, Beijing, 1950.

MEI LANFANG, The Phoenix returns to Its Nest. A Beijing Opera Created by Mei Lanfang, Beijing, New World Press, 1985.

MENG Chengshun, Mistress and Maid (Jiohong ji), New York, Columbia University Press 2001.

MITCHELL, John D., The Red Pear Garden: Three Great Dramas of Revolutionary China, Boston, David R. Godine, 1973.

MOWRY, Hua-yuan Li, Yangpan hsi. New Theater in China, Berkeley, University of California for Chinese Studies, 1973.

MOWRY, Hua-yuan Li, Ming Drama, Taipei, Heritage Press, 1967.

MULLIGAN, Jean, The Lute. Kao Ming’s P’i-p’a chi, New York, Columbia University Press, 1980.

MUSEUM DER KULTUREN, On stage: the art of Beijing opera, [Exhibition, Basel, Museum der Kulturen], Basel, Museum der Kulturen, 2011.

OBRAZTSOV, Sergej Vladimirovic, The Chinese Puppet Theatre, London, Faber, 1961.

PAI Feng-hsi, Kuan Yüeh-hua, The Women Trilogy, Beijing, Panda Books-Chinese Literature Press, 1991.

PAN Xiafeng, The Stagecraft of Peking Opera from Its Origins to the Present Day, Beijing, New World Press,1995.

PIMPANEAU, Jacques, Des poupées à l’ombre. Le théâtre d’ombre et de poupée en Chine, Paris, Centre de Publication Asie Orientale, 1976.

PIMPANEAU, Jacques, Chanteurs conteurs bateleurs. Littérature orale et spectacles populaires en Chine, Paris, Centre de Publication Asie Orientale, 1978.

PIMPANEAU, Jacques, Promenade au jardin des poiriers. L’opera chinoise classique, Paris, Musée Kwok On, 1983, ill.

POUPEYE, C., Le théâtre chinois, Paris-Bruxelles, Éditions Labor, 1982.

QI Rushan, ZHANG Daxia, Chinese Opera Costumes, Taipei, National Taiwan Arts Center, 1961.

QI Shouhua, Adapting Western classics for the Chinese stage, London, Routledge, 2018.

QIFENG, F., Chinese Acrobatics through the Ages, Beijing, Foreign Language Press, 1985.

QUAH Sy Ren, Gao Xingjian and transcultural Chinese theatre, Honolulu, University of Hawai’i Press, 2004.

QUILLET, Françoise, L’opéra chinois contemporain et le théâtre occidental. Entretiens avec Wu Hsing-Kuo, Paris, L’Harmattan, 2011.

QUIQUEMELLE, M.-C., Le théâtre traditionel chinois. L’Opera de Pékin, Paris, Centre National de Documentation Pedagogique, 1986.

RILEY, Josephine, UNTERRIEDER, Else (eds.), Haishi Zou Hao. Chinese Poetry, Drama and Literature of the 1980s, Bonn, Engelhard Ng Verlag, 1989.

RILEY, J., Chinese theatre and the actor in performance, Cambridge, Cambridge University Press, 1997.

ROLSTON, David, Inscribing Jingju / Peking Opera. Textualization and Performance, Authorship and Censorship of the “National Drama” of China from the Late Qing to the Present, Leyden, Brill, 2021.

ROY, C., L’Opera de Pékin, Paris, Éditions Cercle d’Art, 1955.

SCHÖNFELDER, G., Die Musik der Peking Oper, Leipzig, Deutscher Verlag für Musik, 1973.

SCOTT, Adolphe Clarence, An Introduction to the Chinese Theatre, New York, Theatre Arts Books; Singapore, Moore, 1952.

SCOTT, Adolphe Clarence, Mei Lang-fang, Leader of the Pear Garden, Hong Kong, Hong Kong University Press, 1971.

SCOTT,  Adolphe Clarence (ed.), Traditional Chinese Plays, 3 voll., Wisconsin, University of Wisconsin Press, 1969-75.

SCOTT, Adolphe Clarence, The Classical Theatre of China, New York, Macmillan, 1978.

SCOTT, Adolphe Clarence, Actors are Madmen: Notebook of a Theatregoer in China, Madison, University of Wisconsin Press, 1982.

SHIH Chung-Wen, Injustice to Tou O (Tou O Yüan): A Study and Translation (edited by Hanqing Guan), Cambridge, Cambridge University Press, 1972.

SHIH Chung-Wen, The Golden Age of Chinese Drama. Yüan Tsa-chü, Princeton, Princeton University Press, 1976.

SHIP-P’ENG YANG, D., An Annotated Bibliography of Materials for the Study of the Peking Theatre, Madison, Wisconsin University Press, 1967.

SIEBER, Patricia, LLAMAS, Regina S. (eds), How to Read Chinese Drama. A Guided Anthology,  New York, Columbia University Press, 2021.

STOCK, Jonathan P.J., Huju: Traditional Opera in Modern Shanghai, Oxford, Oxford University Press, 2003.

STRASSBERG, Richard D., The Peach Blossom Fan. Personal Cultivation in a Chinese Drama, Ph. D. Thesis, Princeton University, 1975.

STRAUSS, G.B., The Art of Sleeve in Cinese Dance, New York, Barnes and Noble Books, 1976.

SU Lei, LI Zhihua, ALEZAIS, Jacqueline, La semeuse de feu ou la fille d’automne seme le feu, Paris, You-Feng, 1994.

SUN Jie, Peking Opera Painted Faces — With Notes on 200 Operas (Text by Zhao Menglin and Yan Jiqing. Drawings by Zhao Menglin), Fourth edition, Beijing, Morning Glory Publishers, 2000.

SWATEK, Catherine C., Peony Pavilion Onstage. Four Centuries in the Career of a Chinese Drama, Ann Arbor, University of Michigan Press, 2012.

TAN GUDNASON, Jessica, LI Gong, Chinese Opera. New York, Abbeville Press, 2001.

TAN YE, Historical dictionary of Chinese theater, Lanham, MD, Rowman & Littlefield Publishers, 2020.

TAO-CHING Hsü, The Chinese Conception of the Theatre, Seattle, University of Washington Press, 1985.

THORPE, Ashley, The Role of Chou (clown) in the Traditional Chinese Drama – Comedy, Criticism and Cosmology on the Chinese Stage, Lewiston, NY and Queenston, Canada, The Edwin Mellen Press, 2007.

TIAN Min, Mei Lanfang and the Twentieth-Century International Stage. Chinese Theatre Placed and Displaced, Basingstoke, Palgrave Macmillan, 2012.

TIAN Min, The Poetics of Difference and Displacement: Twentieth-Century Chinese-Western Intercultural Theatre, Hong Kong, Hong Kong University Press, 2008.

TIAN Min (ed.), China’s Greatest Operatic Male Actor of Female Roles: Documenting the Life and Art of Mei Lanfang, 1894-1961, Lewiston, NY, Edwin Mellen Press, 2010.

TRÂN VÂN KHÊ, Le théâtre musical en Chine, en Japon et en Viêt Nam, Paris, 1975.

TSENG Yong-Yi, Chine. Le théâtre, Arles, Editions Philippe Picquier, 1981.

TUNG, Constantine, MACKERRAS, Colin (eds.), Drama in the People’s Republic of China, New York, State University of New York Press, 1987.

VIOLET, R., Chinesisches Schattentheather, Berlin, Staatliche Museum Zu Berlin, 1969.

VOLPP, Sophie, Worldly Stage. Theatricality in Seventeenth-Century China, Cambridge, MA, Harvard University Press, 2011.

WAGNER, Rudolf G., The Contemporary Chinese Historical Drama: Four Studies, Berkeley, University of California Press, 1990.

WAN, Margaret B., Regional Literature and the Transmission of Culture. Chinese Drum Ballads, 1800-1937, Cambridge, MA, Harvard University Press, 2020.

WANG, Elizabeth Te-Chen, Snow Elegant. A Chinese Classical Play, Translated and Adapted by Elizabeth Te-Chen Wang from the Opera Feng Huan Ch’ao (Feng Huan Chao) by Chi Yu-shan. Taipei, Mei Ya Publications Inc., 1971.

WANG Guojun, Staging Personhood. Costuming in Early Qing Drama, New York, Columbia University Press, 2020.

WANG Jianmin, Mei Lanfang: The Art of Beijing Opera. A Pictorial Presentation of the Legendary Performer’s American Tour, Shangai, Shangai Book Traders, 2009.

WANG Shifu, The Story of the Western Wing, Berkeley, University of California Press, 1995.

WANG Shifu, Histoire du pavillon d’occident (Xi xiang ji), Paris-Genève, Editions Slatkine, 1997.

WANG Yun, A Dream of Glory (Fanhua meng): A Chuanqi Play by Wang Yun, New York, Columbia University Press, 2008.

WANG-NGAI, Siu, LOVRICK, Peter, Chinese Opera: The Actor’s Craft, Hong Kong,  Hong Kong University Press  2013.

WANG-NGAI, Siu, LOVRICK, Peter, Chinese Opera: Images and Stories. Vancouver, Canada, UBC Press; Seattle, University of Washington Press, 1997.

WEI Feng, Intercultural Aesthetics in Traditional Chinese Theatre: From 1978 to the Present, London, Palgrave Macmillan, 2020.

WERLE BURGER, Helga, Comparison of Tradition of Chinese Opera with the Sanskrit Drama of Kerala, Paper for International Academic Symposium on Chinese Traditional Opera Acts, Beijing, 1987.

WEST, S. H., Vaudeville and Narrative. Aspects of China Theater, Wiesbaden, Steiner Verlag, 1977.

WEST, Stephen H., IDEMA, Wilt L. (eds), The Orphan of Zhao and Other Yuan Plays. The Earliest Known Versions, New York, Columbia University Press, 2014.

WHEELER SNOW, Lois, China on Stage. An American Actress in the People’s Republic, New York, Random House, 1972.

WICHMANN, Elizabeth, Listening to Theatre: The Aural Dimension of Beijing Opera, Honolulu, University of Hawai’i Press, 1991.

WU Zuguang, HUANG Zuolin, MEI Shaowu, Peking Opera and Mei Langfang. A Guide to China’s Traditional Theatre and the Art of Its Great Master, Beijing, New World Press, 1981.

XIAO Xiaoming, Fascinating stage arts, Beijing, Foreign languages press, 2002.

XIAO Yang Zhang, Shakespeare in China: a Comparative Study of Two Traditions and Cultures, Newark, DE, University of Delaware Press, 1996.

XU Chengbei, Peking Opera: Two Centuries of Chinese Culture behind the Painted Faces, Translated by Chen Gengtao, Beijing, China Intercontinental Press, 2003.

XU Chengbei, An Afternoon Tea of Beijing Opera Tidbits, San Francisco, Long River Press, 2005.

XU Daojing, The Chinese Conception of the Theatre, Seattle, University of Washington Press, 1985.

YANG Hsien-yi, YANG, Gladys (translators), The Fisherman’s Revenge: A Peking Opera, Beijing, Foreign Languages Press, 1956.

YANG Hsien-yi, YANG, Gladys (tr.), Love Under the Willows (A Szechuan Opera), Beijing, Foreign Languages Press, 1956.

YANG Hsien-yi, YANG, Gladys (tr.), The Forsaken Wife (A Pingju Opera), Peking, Foreign Languages Press, 1958.

YANG, Gladys (tr.), The Runaway Maid (A Cantonese Opera), Beijing, Foreign Languages Press, 1958.

YANG Hsien-yi, YANG, Gladys (tr.), Third Sister Liu (An Opera in Eight Scenes), Beijing, Foreign Languages Press, 1962.

YANG Hsien-yi, YANG, Gladys (tr.), The Palace of Eternal Youth, by Hong Sheng, Beijing, Foreign Languages Press, 1980 (1955).

YE Xiaoqing, Ascendant Peace in the Four Seas: Drama and the Qing Imperial Court, New York, Columbia University Press, 2012.

YI Bian (ed.), Peking Opera: The Cream of Chinese Culture. Beijing, Foreign Languages Press, 2005.

YIM Shui-yuen (ed.), Yue Ju Bai Nian Tui Bian (A Century of Cantonese Opera), Hong Kong, Regional Council (Exhibition catalogue with Chinese-English bilingual text), 1989.

YU Shiao-ling, Chinese drama after the cultural revolution, 1979-1989: an anthology, Lewiston, N.Y., Edwin Mellen Press, 1996.

YUNG, Bell, Cantonese Opera. Performance as a Creative Process, Cambridge, Cambridge University Press, 1989.

YUNG, Bell (ed.), The Flower Princess, A Cantonese Opera, Hong Kong, The Chinese University Press, 2010.

YUNG-TONG, Luk (ed.), Studies in Chinese Western Comparative Drama, Hong Kong, The Chinese University Press, 1984.

ZHANG Ning, L’appropriation par la Chine du théâtre occidental, Paris, L’Harmattan, 1998.

ZHANG Beiyu, Chinese theatre troupes in Southeast Asia: touring diaspora 1900s-1970s, London, Routledge, 2021.

ZHAO Meulin, YAN Jiqing, Peking Opera Painted Faces, Beijing, Morning Glory publishers, 1992.

ZHAO Meulin, YAN Jiqing, Masques de l’Opera de Pékin, Paris, Editions Aurore, 1992.

ZHENG Tingyu, QIN Jianfu, LI Chihua, Le signe de patience: et autres pièces du théâtre des Yuan, Paris, Gallimard, 1963.

ZUNG, Cecilia S. L., Secrets of the Chinese Drama: A Complete Explanatory Guide to Actions and Symbols as Seen in the Performance of Chinese Dramas, New York, Arno Press, 1980.


Bibliografia a cura di Rossella Marangoni

con il contributo della Fondazione Ada Ceschin Pilone e di teatrocinese.it