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Teahouse (Bilingual Series in Modern Chinese Literature) ePub download

by John Howard-Gibbon,She Lao

  • Author: John Howard-Gibbon,She Lao
  • ISBN: 9629961253
  • ISBN13: 978-9629961251
  • ePub: 1130 kb | FB2: 1595 kb
  • Language: English
  • Category: Humanities
  • Publisher: The Chinese University Press; Bilingual edition (October 27, 2004)
  • Pages: 150
  • Rating: 4.1/5
  • Votes: 903
  • Format: lrf doc docx azw
Teahouse (Bilingual Series in Modern Chinese Literature) ePub download

Series: Bilingual Series in Modern Chinese Literature. This volume provides the full text of Lao She's famous 1957 three-act play, "Teahouse," in Chinese (regular characters) and a fluid English translation by John Howard-Gibbon

Series: Bilingual Series in Modern Chinese Literature. Paperback: 150 pages. This volume provides the full text of Lao She's famous 1957 three-act play, "Teahouse," in Chinese (regular characters) and a fluid English translation by John Howard-Gibbon. The Chinese and English texts are presented on facing pages.

Shu Qingchun (3 February 1899 – 24 August 1966), courtesy name Sheyu, best known by his pen name Lao She, was a Chinese novelist and dramatist. He was one of the most significant figures of 20th-century Chinese literature, and best known for his novel Rickshaw Boy and the play Teahouse (茶館). He was of Manchu ethnicity, and his works are known especially for their vivid use of the Beijing dialect.

Bilingual Series in Modern Chinese Literature). Set in an old teahouse in Beijing, the play is typical of Lao She's art that seeks to provide a panoramic view of Chinese history and culture in their transformation from tradition to modernity. Teahouse spans fifty years in modern Chinese history from the collapse of the Qing dynasty and the Republican Revolution to the birth of the People's Republic.

Teahouse spans fifty years in modern Chinese history from the collapse of. .John Howard-Gibbon is a world renowned translator and Chinese literature scholar.

Teahouse spans fifty years in modern Chinese history from the collapse of the Qing dynasty and the Republican Revolution to the birth of the People's Republic. The play brings together over sixty characters, representing all walks of life in change. He has translated many works from Chinese, notably Lao She's "Teahouse "and Chen Ran's "A Private Life".

Lao Shê in Modern Chinese Writers, ed. by Helmut Martin and Jeffrey Kinkley, 1992. Translated by John Howard-Gibbon. Kwok-Kan Tam. "Introduction".

Bilingual Modern Chinese Literature. This is one of the famous dramas by Lao She. The drama is set in a typical, old Beijing teahouse and follows the lives of the owner and his customers through three stages in modern Chinese history. By (author) Lao She, Translated by John Howard-Gibbon. Free delivery worldwide. The play spans fifty years and has a cast of over sixty characters drawn from all levels of society. Brought together in Yutai Teahouse, they reflect the changes that were taking place in Chinese society.

MT OLT) Braving the bitter cold, I travelled more than two thousand li back to the old home I had left over twenty years ago. It was late winter.

Home Books Browse By Series Bilingual Series on Modern Chinese Literature

Home Books Browse By Series Bilingual Series on Modern Chinese Literature.

This page contains details about the Fiction book Teahouse by by She Lao published in 1957. Teahouse (Bilingual Series in Modern Chinese Literature). This book is the 1639th greatest Fiction book of all time as determined by thegreatestbooks.

Set in an old teahouse in Beijing, the play is typical of Lao She's art that seeks to provide a panoramic view of Chinese history and culture in their transformation from tradition to modernity. Teahouse spans fifty years in modern Chinese history from the collapse of the Qing dynasty and the Republican Revolution to the birth of the People's Republic. The play brings together over sixty characters, representing all walks of life in change. It is noted for its vivid portrayal of characters and lively use of Beijing dialect, but its main thrust lies in Lao She's vision of history, which is prophetic of later political movements and its disastrous effects on the average Chinese people. Teahouse is a rare masterpiece of the contemporary Chinese theatre. It has been performed in Japan, Europe and North America, and translated into major foreign languages.
Cordaron
Novelist and playwright Lao She's difficult life in China; his illustrious career there, in London and in New York; and his suicide by drowning in Beijing in 1966 were briefly described in Evan Osnos' recent book, "Age of Ambition." An urge to learn more about Lao She prompted me to buy this bilingual volume of his best play, which includes a superb Introduction to his life and works.

Although the People's Republic of China honored Lao She as a "People's Artist" and a "Great Master of Language," fanatical Red Guards during the Cultural Revolution beat and humiliated him to the point of ultimate protest by suicide. The plot and dialogue of this drama display the same brave authenticity as his death. Its three acts portray the social, economic, political and moral state of China during three generations: (1) in 1898, near the end of the Qing or Manchu Dynasty; (2) in 1917, during the early years of the Republic of China; and (3) in 1945, after the Japanese occupation but before establishment of the Peoples Republic in 1949. The eloquent, Brechtian orations of "Oddball Yang" that introduce each act are grouped in the single Appendix.

This drama takes place in the the traditional, but evolving, Yutai Teahouse in Beijing, where we hear the voices of more than 60 characters as they appear and re-appear in the play. Amid this diversity of lives over a span of 50 years, certain continuities are clear--poverty, corruption, and official notices on the teahouse walls, "Don't discuss state affairs."

In addition to an arresting drama that evokes half a century of modern Chinese history, this bilingual edition )with English and simplified Hanzi characters on facing pages) is an excellent text for students of Chinese language, such as myself. The Chinese characters are moderately large and very clear, the dialogue is eloquent, and the English translation is idiomatic. Additional pinyin transcription could add to its excellence for students of Chinese language. As it is, however, the book is a boon and a bargain! I look forward to reading more work by Lao She and more volumes in this fine bilingual series of books by 20th Century Chinese writers.
Qumen
An excellent view of China' tumult from a common man's perspective. People just trying to live while the history we read about later is made.
Erennge
This volume provides the full text of Lao She's famous 1957 three-act play, "Teahouse," in Chinese (regular characters) and a fluid English translation by John Howard-Gibbon. The Chinese and English texts are presented on facing pages. The volume includes an excellent review of Lao She's life and works by Kwok-kam Tan of the Chinese University of Hong Kong. His review places the play in its historic and literary contexts, making this an excellent reference volume. There's lively Beijing dialect, satire, meditations on the course of China's modernization from the time of the "Self-Strengthening" movement, and a tragic back story.

"Lao She" was the pen name of Shu Qingchun (1899-1966). Set in China still governed by the Kuomintang after the end of the Second World War, "Teahouse" was written in 1957 during the Hundred Flowers movement. Formally a satire of Chinese political movements before 1949 -- the last years of the Qing dynasty, the warlord years, and the Republic -- it was criticized during the Anti-Rightist Campaign and the Cultural Revolution. In 1966, Lao She was seized and beaten by the Red Guards, and there are different accounts of his death -- that he was killed by the Red Guards, or committed suicide afterwards. One of the characters in "Teahouse" asks the recurring question: "I love China, but who loves me?"

-30-
Maveri
One of the strangest plays we can imagine because it deals with China and for us, westerners, China is the other end of the universe. It has three acts, one in 1898. The second ten years later hence in 1908 or so, and the third one after 1945 but under the Kuomintang government. The scene is in the Teahouse in Beijing all the time. At first we are at the end of the Imperial China with the Empire going out, meaning down, and the Emperor being pushed aside out of power. The reformist party takes over and in the second act we have the republican power. This will not change much at the end after the Japanese occupation and defeat when Beijing is under the control of the Kuomintang and the quasi occupation of the country by Americans. The hope everyone is waiting for (either as a frightful future for the Kuomintang officials, or some hope of decency among simple people) is coming from the western provinces and mountains and will take four years to arrive, but they will arrive indeed, the Communists.

As for the historical change from 1898 to 1945 the play is not that original. But it is fascinating because it is tremendously Brechtian in the fact it concentrates on simple people and how they feel, react and simply suffer in front of change. Yet they have to endorse it because life is change. The main character is typical. Hardly 20 in 1898, taking over the Teahouse from his dead father he follows the trend and changes and he will change all along because nothing can be successful if it does not change.

His point of view, his vision of successive periods of change and what they mean, including the shift from the older generation to the younger generation, at times twice removed, is sad, very sad. Change most of the time meant takeover, from the old proprietors, the old people, to the newcomers. In 1898 it meant getting rid of the Empire and its systematic selling and buying of girls and boys as anything at all and a plain banal practice, for the rich and the powerful who could buy a wife, when a eunuch, and even buy a son. Absurd world where a eunuch can buy himself a family, since he can’t make it himself, or shouldn’t I say “it”self. In 1908 it meant industrialization and the enthusiasm it may bring to the younger generation then who are able to sell all their property that brought no real enterprising benefits to open a factory. But that change did not go beyond this limited evolution and it required a lot of corruption and under the table or under the cover dealings.

In 1945 the picture has changed. The Japanese had taken over and occupied the country for many years. They had purely seized all property that could produce anything and had integrated these requisitioned properties into their industrial endeavor whose only objective was the war with the USA. The Japanese were defeated and the Americans took over under the semblance of the Kuomintang. That meant transforming the Teahouse into a brothel more than anything else, with charming names on the ladies and the place, for the sole entertaining of the powerful of the Kuomintang and the occupying Americans and their puppets. All those opposed were either sent to prison or beaten up. A teachers’ strike is declared a rebellion and repressed in blood and violence. The ringleaders, as they are called are simply killed on the spot when captured, in the most effective and rapid way possible.

All those who are against this evolution which is no reform but the continuation of the Japanese endeavor under the star-spangled banner and their local lackeys, their hope is the communists in the western mountains. And to symbolize how dead this old new world is, the younger man who was taking over the Teahouse after the death of his father in 1898 just hang himself before his Teahouse is seized by the Kuomintang and he himself is reduced to being a doorman in his own Teahouse. He can hang himself because all the members of his family have left and are on the way to the Western Mountains, hence to the communists.

That’s probably what people like Trump and his supporters who voted for him, as well as those who voted not for Clinton but against Trump, will never understand. China is not about the first or the second amendment of the US Constitution, but it is about millennia (not centuries) of exploitation in China itself by various political systems and success in global commerce represented by the famous Silk Roads finally discovered by Marco Polo (1271–1368), which meant that the western world limited to Europe at the time finally came to realizing China was the real global power Europe and then the West tried to become after the discovery of the Americas (1492) and the re-invention of slavery by the Portuguese around 1450 in Africa from Western Africa to Congo, Angola, Mozambique and eastern Africa, plus India on the other side of the Indian Ocean. And China was already a very wide empire long before even Homer and Aeschylus were even born, not to mention Plato and Aristotle, the fanatic supporters of slave societies.

Unluckily this play will not be understood by Westerners, especially narrow-minded people like those I have just mentioned, because they think they are hot hamburgers and hotdogs all over and that anyone and everything that is not in their direct mental and geographical territory is nothing but swampy water and rotting mud. Waking up will be difficult and I just hope they do not start throwing their atomic bonbons on us before dying out.

Dr. Jacques COULARDEAU
interactive man
lovely Chinese poetry
Marilace
Nice little text with plenty of characters.
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