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Subsequently, he became a leading figure in the history of Chinese modern drama. It dramatizes how a stepmother, Zhou Fanyi, incurably loves her stepson, Zhou Ping, and invites a family disaster Liu Xiwei Besides, as Guo Moruo said in , the strong tragic moira or fate displayed in Thunderstorm was typical of Greek tragedy Guo Moruo : As a successful tragedian, Cao Yu is not a simple imitator; many of his plays, like Thunderstorm, Sunrise , and Field , manifest Greek themes such as destiny and self, revenge and being avenged, and female subordination.
Guo said in that he was attempting to write historical or poetic dramas under the influence of Greek tragedians, Shakespeare, and Goethe Guo Moruo : , and most of his dramas from the s to the s, such as The Flower of Tang Di , characterized ancient Chinese heroes as tragic and sublime. Nevertheless, it is unclear whether the plays of both these dramatists, Guo and Li, show actual links with Greek tragedy.
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The audiences felt a great shock Luo Niansheng : ; Tian Zhuang [who played Jason ] Their performances abroad even called forth a heated debate in Greece about how to treat ancient tragedy tradition Wu Jicheng : The following year the Hebei Bangzi opera Medea was a success both in Beijing and overseas. One feature of such adaptation was to add to the original story. Two Greek tragedies — Bacchae and Oedipus the King — were combined with Peking opera and performed in China.
The chorus sang in ancient Greek, but the play used three Chinese actors who performed with the acting techniques of Peking opera, and spoke in Chinese, occasionally inserting rhythmed recitation as is common in Peking opera Steadman : 22—4.
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But this play was criticized for its implausible mixture of elements from Greek tragedy and Peking opera. Further, the sections from Peking opera were said to be cut into meaningless fragments Tang Xiaobai : 42—3. It absorbed as many oriental elements as possible from Peking opera, such as the crisscrossing of vast spans of time and space and having a simple setting or no setting at all.
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AESCHYLUS, PROMETHEUS BOUND - Theoi Classical Texts Library
Table of Contents. Related Content. Editor: Stratos Constantinidis. It offers an invigorating discussion about the transmission and reception of his plays and explores the interrelated tasks of editing, translating, adapting and remaking them for the page and the stage.
But these two poet-translators are the exception: for the whole of the eighteenth and nineteenth centuries the Greekless reader saw Attic tragedy through the distorting spectacles of verse written by scholars whose acute perception of the nuances of ancient Greek was exactly matched by their crass insensitivity to the sound and sense patterns of English. This is a judgment time has rescinded. Murray would occasionally in the choral passages rise to giddy Swinburnian heights he could also sink to nameless bathetic depths , but for the dramatic dialogue he adopted a form which only Donne could handle successfully—rhymed couplets which are, for the most part, not closed.
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