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Clowns in the Szechuan theatre

Published online by Cambridge University Press:  24 December 2009

Dana Kalvodová
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Extract

The field of the various regional theatres, ti-fang-hsi which represent a substantial part of the traditional Chinese theatre, still remains largely unexplored. It has always been outside the scope of the interest of Chinese and European scholars, who have paid most attention to Yüan-ch'ü the drama of the Mongol era, to the K'un-ch'ü theatre, and lately also to Ching-hsi or Peking opera. The Peking opera is in fact one of the regional theatres by origin, but it occupies an exceptional position because it is distributed throughout China and is not localized in a specific part of the country like other ti-fang-hsi.

Type
Articles
Information
Bulletin of the School of Oriental and African Studies , Volume 28 , Issue 2 , June 1965 , pp. 356 - 362
Copyright
Copyright © School of Oriental and African Studies, University of London 1965

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References

1 Ch'uan-chü, 2. Tseng ti-p'ao (t'an-hsi), published by Ch'ung-ch'ing jen-min ch'u-pan-she 1954.

2 Ch'uan-chü, 43. Wen wu ta (kao-ch'iang), published by Ch'ung-ch'ing jen-min ch'u-pan-she, 1957. This play forms part of the Ming drama T'ai-ho chi which was brought to Szechuan by a K'un-ch'ii theatre troupe.

3 This play belongs to the folk-lore teng-hsi, which originated in the rural parts of Szechuan. When I saw it in 1958 in Chungking, its text had not yet been published.

4 See M. Matiasek, Zeitlose Satire des Ewig-Menschlichen. Maslce und Kothurn, Wien, 1963.

5 Ch'uan-chü ts'ung-k'an 8, 1956, Wen-ping pi-hung (hu-ch'in hsi).

6 Ch'uan-chü ts'ung-k'an, 5, 1956, Tso wen-chang (t'an-hsi).

7 The printed text of this play is not available.