Contents

Reconstructing the Subjectivity of Chinese Traditional Opera from thePerspective of “TheatreAnthropology”………… ChenShixiong

DatingOld Chinese Stages ………………………………………………Feng Junjie

AnEtymological Study of the Uyghur Mäddah(Storyteller)………Kuerban Maitudi

Classification and Nomenclature ofPerformance Scripts at Qing Court…Xiong Jing

Players’Self-Refinement as Reflected in Contemporaneous Miscellaneous Notes………Jiang Chen

LuoYing-gong’s BeijingOpera Dramaturgy ………………Yan Quanyi

Connectionbetween “Old Gezai Opera” and Southern Fujian Traditional Operas with Referenceto Shanbo Yingtai………………Pan Peizhong

NanyueCeremony and the Mulian Plays……Tang Liao

BrianFriel’s Postcolonial Dramatic Strategies in Dancingat Lughnasa…………… Qi Yaping  ZhangJianhua  

How toPlay the Comic in Chekhov’s Plays…………………………………Xia Bo

The UseChorus as Exemplified by The Bad Girl……………………Chen Xiaoling

A Brief Introduction to Czech Puppetry ………………………………CaiFangtian

TheIntroduction of Mediated Images onto the Stage: From Piscator to Svoboda………ZhangLin

Differencesbetween Performance Costume and Daily Wear......………Zhao Weiyue

A Mise enScène Study of Antonioni’s La Notte……………………XuFeng

Characteristics and Revelations of the Yale SchoolDrama’s Theatre Management Program ……………………Zhang Wei

Editor-in-Chief                 Liao Xiang Hong

Executive Editor in Chief         ShenLin

Editor                        Xu Jian, Liu Xiaocun

The CentralAcademy of Drama

39 Dong MianHua Hutong, Dongcheng District, Beijing 100710, China

Tel. 0086 1064056580

Email: xuebao@chntheatre.edu.cn,zhongxixuebao@gmail.com