Introduction
Tradition and Experience of the Drama of the Peoples Republic of China 1

Part I
Drama on Historical Themes 29

Hai Rui Dismissed From Office and Chinas Opposition Movement 1958-1959 30

The Case of Empress Wu 54

Part II
Drama, Ideal and Theory 93

Prescriptive Dramatic Theory of the Cultural Revolution 94

A Semiotic Analysis of Taking Tiger Mountain by Strategy 119

Mei Lanfang Stanislavsky and Brecht on Chinas Stage and Their Aesthetic Significance 137

Huang Zuolings Ideal of Drama and Bertolt Brecht 151
Part III
Post 1976 Theater and Drama 163
Theater Activities in Post Cultural Revolution China 164
Commercialization and Professionalization 181

If I Were For Real and the Movie 213

Individualistic Rebels and Social Harmony in Bai Fengxis Plays 233

Functions of Literature in the Eighties and its SocioPolitical Limitations 254

Part IV
Foreign Theaters in China Two Case Studies 283

Austrian Musical Theater and Music in China 284

Performances of Ibsen in China After 1949 306
Conclusion 326

Notes on Contributors 335
Index 339
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