Li Ruru
Biographic Data
| ID | 5980404 |
|---|---|
| NAME | Li Ruru |
| GIVEN NAMES | Li |
| FAMILY NAME | Ruru |
| SIGNATURE | RURU L |
| AFFILIATIONS | Li Ruru is Senior Lecturer in Chinese Studies at Leeds University, UK. She has written extensively on Shakespearean performance in China (including a monograph Shashibiya: Staging Shakespeare in China, Hong Kong University Press 2003) and on Chinese theatre (both modern spoken drama and indigenous song-and-dance theatre). Her recent books include The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World (Hong Kong University Press, 2010), and Jingying touliang de yu: Li Yuru... |
| VERIFIED | No |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 4 |
| 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
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 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
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 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
Art (3 works) · History (3 works) · Aesthetics (2 works) · Beijing (2 works) · China (2 works) · Geology (2 works) · History (2 works) · Literature (2 works) · Theatre and Performance Studies (2 works) · Visual arts (2 works)