Bibliografia

 

Opere in lingua italiana

 AA. VV., Il teatro cinese antico e moderno (introduzione di Lin Yutang), Milano, Bompiani, 1957, pp. 88, ill. (N° 140 monografico della rivista “Sipario”, dic. 1957). 

AA. VV., L’Opera di Pechino. Premessa di Nanni Balestrini, Edoardo Sanguineti, Milano, Feltrinelli, 1971, pp. 310. 

AA. VV., La Cina a Venezia, Firenze, Napoli: il teatro musicale di Suzhou nell’ambito del gemellaggio Venezia-Suzhou, Venezia, Teatro La Fenice, 1982, pp. 119.

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, pp. 565.

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, pp. 72. 

CONTIN, Claudia, Progetto sciamano anno 2001: incontri col teatro cinese della Scuola sperimentale dell’attore, Pordenone, Amministrazione provinciale, stampa 2001, pp. 139, ill.

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, pp. 165, fot.  

FUNG Yu-lan, Storia della filosofia cinese, Milano, Mondadori,  1990.

GUIDI, Alessandro, Lo Yueji: il pensiero musicale nella Cina, Bologna, CLUEB, 2005, pp. 143.

HO Tsin-ci e Din-ni, La fanciulla dai capelli bianchi. Dramma in cinque atti e diciannove quadri, s.n., Edizioni di Cultura Sociale, 1952, pp. 164, (Biblioteca Teatrale ; 2).

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, pp. 853-906, ill. 

L’Opera di Pechino, Beijing Yuoth Jingju Troupe. Teatro dell’Opera di Pechino. Programma di sala pubblicato in occasione della tournèe in Italia negli anni novanta con la partecipazione di STET, s.l. : s.n., s.d., pp. 42, ill.

PILONE, Rosanna, Teatro in Cina, Bologna, Cappelli, 1966, pp. 110, ill.

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, pp. 103, ill. (Catalogo della Mostra tenuta a Milano nel 1995.)

PISU, Renata, TOMIYAMA Haruo, L’Opera di Pechino. Prefazione di Marcel Marceau, Milano, Mondadori, 1982, pp. 237, ill. 

RUGGIERO, Antonio, L’Opera di Pechino durante la rivoluzione culturale: una parentesi innovatrice nel teatro tradizionale cinese, Cosenza, Presenze, 1985, pp. 151.

SAVARESE, Nicola, Il racconto del teatro cinese, Roma, Carocci, 2001 (1° ed. 1997), pp. 256, ill. 

YU WEIJIE, PILONE Rosanna, RAGAINI Sabina, Tradizione e realtà del teatro cinese – dalle origini ai giorni nostri, Milano, International Cultural Exchange, 1995, pp. 260.

 

Opere in lingue straniere

 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, pp. 25, ill.

The Flower Princess, (Translated by Bell Yung, Sonia Ng and Katherine Carlitz), New York, Columbia University Press/ The Chinese University Press, 2010, pp. 244.

ALLEY, Rewi, Introduction a l’opera de Pékin (photos d’Eva Saio; dessins de Kouan Liang), Pekin, Librairie du Nouveau monde, 1984, pp. 97, ill.

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, pp. 262.

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, The University of Hawai’i Press, 2008, pp. 376.

BOUVIER, Hélène, TOFFIN, Gérard, Théâtres d’Asie à l’oeuvre. Circulation, expression, politique, Paris, EFEO, 2012, pp. 256, ill.

BROMAN, Sven, Chinese Shadow Theatre, Stockholm, Etnografiska Museet/Ethnographical Museum of Sweden, 1981, pp. 249.

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

BURGER, Helga, L’opera chinoise, Paris, Denoel, 1982, pp. 208.  

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, 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 (translators), 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, pp. 64, ill.  

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

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

CHEN Xiaomei (ed.), The Columbia Anthology of Modern Chinese Drama, New York, Columbia University Press, 2010, pp. 1120.

LAI Jane C.C., An Oxford Anthology of Contemporary Chinese Drama, Hong Kong, Oxford University Press, 1997, pp. XXVI, 873, ill.

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.

CHING-HSI Perng, Double Jeopardy. A Critique of Seven Yüan Courtroom Drama, Anna 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, pp. 197.

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 Hawaii Press, 2004, pp. 312.

COYAUD Maurice, LEUNG Angela K., Les Operas des Bords de l’Eau: Theatre Yuan, XIII-XIV siecles, Paris, CNRS, 1975, pp. 194. 

DARROBERS, Roger, Le théâtre chinois, Paris, Presses Universitaires de France, 1995, pp. 127.

DOLBY, William, A History of Chinese Drama, London, P. Elek, 1976, pp. 327, ill.  

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, pp 284.

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, pp. XXIX, 762, ill.

GAO Xingjian, FORSTER-LATSCH Helmut, Latsch Marie-Luise>, Flucht: eine moderne Tragödie, Bochum, Brockmeyer, 1992, pp. 99.

GAO Xingjian, Dialoguer Interloquer, s.l., MEET, 1993, pp. 144.

GAO Xingjian, Le somnambule, Wallonie, Editions Lansman, 1995, pp. 56.

GAO Xingjian, La fuite, Wallonie, Editions Lansman, 1992, pp. 61.

GAO Xingjian, The Other Shore: Plays by Gao Xingjian, New York, Columbia University Press, 1999, pp. 312.

GAO Xingjian, Snow in August, New York, Columbia University Press, 2002, pp. 88.

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

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

GUNN, Edward M., (ed.), Twentieth Century Chinese Drama. An Anthology, Bloomington, Indiana University Press, 1983, pp. 544. 

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, pp. 92. 

HAWKES, David (translator), 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.

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

HSIAO Yang Zhang, XIAOYANG Zhang, Shakespeare in China: a Comparative Study of Two Traditions and Cultures, s.l., Associated University Presse, 1996, pp. 279, ill.

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

HUANG, Alexander C. Y., Chinese Shakespeares: Two Centuries of Cultural Exchange, New York, Columbia University Press, 2009, pp. 368, ill.

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

HUA-YUAN Li Mowry, Ming Drama, Taipei, Heritage Press, 1967.

HUA-YUAN Li Mowry, Yangpan hsi. New Theater in China, Berkeley, University of California for Chinese Studies, 1973, pp. 117.

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

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.

IDELMA, 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, pp. 136.

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

JOHNSON, Dale R., Yuarn Music Drama: Studies in Prosody and Structure and a Complete Catalogue of the Northern Arias in the Dramatic Style, Anna Arbour, University of Michigan Press, 1980, pp. 376. 

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

KUO Mo-jê, LIANG Pai-tchin, K’iu Yuan, Paris, Gallimard, 1957, pp. 256.

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

KUOSHU, Harry H., Lightness of Being in China: Adaptation and Discursive Figuration in Cinema and Theatre, New York, Peter Lang, 1999, pp. X, 185, ill.

LAO HE, Les retrouvailles: pièce en 3 actes et 7 tableaux, Paris, Université Paris 7. Centre de publication Asie orientale, 1977, pp. 175.

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, pp. 87. 

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

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

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.

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.

LILLEY, Rozanna, Staging Hong Kong: Gender and Performance in Transition, Honolulu, University of Hawai’i Press, 1999, pp. 256.

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

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

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

Lu, Lisa (translator), 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, pp. 239.

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

MA, Qian (translator), 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, pp. 243. 

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, c1975, pp. 256. 

MACKERRAS, Colin, Chinese Theater from Its Origins to the Present Day, Honolulu, University of Hawai’i press, 1988, pp. 220. 

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

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, pp. 288.

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

MIN Tian, (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.

MIN Tian, Mei Lanfang and the Twentieth-Century International Stage, London, Palgrave Macmillan, 2011.

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

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

OBRAZTSOV, Sergej Vladimirovic, The Chinese Puppet Theatre, Boston, Plays, 1961, pp. 55.

PAI Feng-hsi, Kuan Yüeh-hua, The Women Trilogy, Beijing, Panda Books-Chinese Literature Press, 1991, pp. 287.

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. Litérature 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, pp. 138, ill.

POUPEYE, C., Le théâtre chinois, Paris-Bruxelles, Éditions Labor, 1982, pp. 238. 

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

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, pp. XI, 225.

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, pp. 348, ill.

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, pp. 92. 

SCOTT, Adolphe Clarence, Mei Lang-fang, Leader of the Pear Garden, Hong Kong, Hong Kong University Press, 1971 (1969).

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

SCOTT, Adolphe Clarence, The Classical Theatre of China, New York, Macmillan, 1978 (1957), pp. 250, ill. 

SCOTT, Adolphe Clarence, Actors are Madmen: Notebook of a Theatregoer in China, Madison, University of Wisconsin Press, 1982, pp. XII, 225, ill.

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.

SIU LEUNG LI, Cross-dressing in Chinese Opera, Hong Kong, Hong Kong University Press, 2003.

SIU Wang-Ngai (with Peter Lovrick), Chinese Opera: Images and Stories. Vancouver, Canada, UBC Press; Seattle, University of Washington Press, 1997.

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, pp. 121.

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.

SY REN QUAH, Gao Xingjian and Transcultural Chinese Theater, Honolulu, University of Hawai’i Press, 2004, pp. 240.

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

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.

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, Drama in the People’s Republic of China, New York, State University of New York Press, 1987, pp. 353, ill. 

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

WAGNER, Rudolf G., The Contemporary Chinese Historical Drama: Four Studies, Berkeley, University of California Press, 1990, pp. 361, ill. 

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 Shifu, The Story of the Western Wing, Berkeley, University of California Press, 1995, pp. 344.

WANG Shifu, Histoire du pavillon d’occident (Xi xiang ji), Paris-Genève, Editions Slatkine, 1997, pp. 347.

WANG Yun, A Dream of Glory (Fanhua meng): A Chuanqi Play by Wang Yun, New York, Columbia University Press, 2008, pp. 300.

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.

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, pp. 360.

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, pp. 136. 

XIAOMEI Chen, Acting the Right Part: Political Theater and Popular Drama in Contemporary China, Honolulu, University of Hawai’i Press, 2002, pp. 466.

XIAO Xiaoming, Fascinating stage arts, Beijing, Foreign languages press, 2002, pp. 107, ill.

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, ill.

XU Daojing, The Chinese Conception of the Theatre, Seattle, University of Washington Press, 1985, pp. XXIII, 685, ill.

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

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

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

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

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

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

YE Tan, Historical Dictionary of Chinese Theater, London, The Scarecrow Press, 2008.

YE Xiaoqing, Ascendant Peace in the Four Seas: Drama and the Qing Imperial Court, New York, Columbia University Press, 2011, pp. 232.

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, pp. 494, ill.

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.

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, pp. 299, ill. 

 

 

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

bibliografia a cura di Rossella Marangoni

__________

Pubblicato in AsiaTeatro, Anno I (2011)