Ruru Li
Biographic Data
| ID | 5635079 |
|---|---|
| NAME | Ruru Li |
| GIVEN NAMES | Ruru |
| FAMILY NAME | Li |
| SIGNATURE | LI R |
| AFFILIATIONS | Shakespeare Theatre Company |
| ORCID | 0000-0002-2927-7682 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1988 |
| LATEST PUBLICATION YEAR | 2012 |
| H-INDEX | 1 |
The Market, Ideology, and Convention
Driven by the imperatives of a changing society and the pressures of new technology, China's theatre is undergoing rapid transformation. The work of two leading Shanghai actors, Shang Changrong and Shi Yihong, reveals how jingju (Beijing Opera) navigates traditional conventions and emerging market challenges, negotiating a future for the art form
Shakespeare on the stages of Asia
While the man in the street is unperturbed at the thought of Shakespeare being performed some 400 years after his death, he is astonished to hear that Shakespeare is performed in Asia (never mind 400 years after his death). Commonality of language, culture, history, country and 'race' conspire to naturalise Shakespeare's otherwise highly 'unnatural' cultural longevity. By the same token, the sheer discontinuity and remoteness represented by 'Asia…
Sino the Times
Today's modern theatre in Beijing shows new talents and direc—tionsas well as problems that are part of the uncertainties of Chi-nese society—in what may be the most intriguing transitional period in Chinese history
The 1994 Shanghai International Shakespeare Festival
The Bard in the Middle Kingdom
Chinese Traditional Theatre and Shakespeare
In the spring of 1986, Shanghai played host to China's first Shakespeare Festival. Sixteen plays were produced, four of whichMacbeth, Twelfth Night, The Winter's Tale, and Much Ado About Nothing were adapted and performed as traditional Chinese operas. Three opera styles were used: kunqua from Jiangsu and Zhejiang provinces,yuejub from Zhejiang Province, and huangmeixic from Anhui Province. For the first time in China, Shakespearean scholars, tra…
Chinese Traditional Theatre and Shakespeare
In the spring of 1986, Shanghai played host to China's first Shakespeare Festival. Sixteen plays were produced, four of whichMacbeth, Twelfth Night, The Winter's Tale, and Much Ado About Nothing were adapted and performed as traditional Chinese operas. Three opera styles were used: kunqua from Jiangsu and Zhejiang provinces,yuejub from Zhejiang Province, and huangmeixic from Anhui Province. For the first time in China, Shakespearean scholars, tra…
Chinese Traditional Theatre and Shakespeare
In the spring of 1986, Shanghai played host to China's first Shakespeare Festival. Sixteen plays were produced, four of whichMacbeth, Twelfth Night, The Winter's Tale, and Much Ado About Nothing were adapted and performed as traditional Chinese operas. Three opera styles were used: kunqua from Jiangsu and Zhejiang provinces,yuejub from Zhejiang Province, and huangmeixic from Anhui Province. For the first time in China, Shakespearean scholars, tra…
The Bard in the Middle Kingdom
The 1994 Shanghai International Shakespeare Festival
Sino the Times
Today's modern theatre in Beijing shows new talents and direc—tionsas well as problems that are part of the uncertainties of Chi-nese society—in what may be the most intriguing transitional period in Chinese history
Shakespeare on the stages of Asia
While the man in the street is unperturbed at the thought of Shakespeare being performed some 400 years after his death, he is astonished to hear that Shakespeare is performed in Asia (never mind 400 years after his death). Commonality of language, culture, history, country and 'race' conspire to naturalise Shakespeare's otherwise highly 'unnatural' cultural longevity. By the same token, the sheer discontinuity and remoteness represented by 'Asia…
The Market, Ideology, and Convention
Driven by the imperatives of a changing society and the pressures of new technology, China's theatre is undergoing rapid transformation. The work of two leading Shanghai actors, Shang Changrong and Shi Yihong, reveals how jingju (Beijing Opera) navigates traditional conventions and emerging market challenges, negotiating a future for the art form
History (5 works) · Art (4 works) · Geography (3 works) · Visual arts (3 works) · Aesthetics (2 works) · Ancient history (2 works) · Beijing (2 works) · China (2 works) · Geology (2 works) · History (2 works)