One way to evaluate the volume is to compare it with its predecessors.
Third, I bore in mind various formalist traditions of both East and West across time so that Chinese theater could be introduced more substantially to readers of world drama and theater in terms of dramaturgy.” In her introduction, Chen explains that she based her selection criteria on three interlocking principles: “My strategy was to situate this anthology first in the context of modern Chinese literary and cultural history under local and global circumstances, and second is the context of comparative drama and theater. The 19 plays from the mainland include 11 from the republican era (1911–1949) and eight from PRC (1949–), which are further divided between four from the Maoist era (1949–1976) and four from the following decades. Within its 1,120 pages, the volume includes 22 plays penned between 19 from mainland China (19), Taiwan (1), and Hong Kong (2). To that end, the new Columbia Anthology of Modern Chinese Drama, authoritatively edited by Xiaomei Chen, one of the leading scholars of the field, and expertly translated by an outstanding group of scholars and translators, is a monumental gift to students and general readers of huaju. It also turned out to be a golden opportunity for an updated anthology of its dramatic literature two and half decades after the pioneering 1983 collection Twentieth-Century Chinese Drama, edited by Edward M.
In 2007 China celebrated the centennial of its modern, Western-style, spoken theater known as huaju (literally “spoken drama”). Columbia University Press, 1120 pages, Cloth: $95. Edited and with an introduction by Xiaomei Chen. The Columbia Anthology of Modern Chinese Drama. Minor translation issues aside, The Columbia Anthology of Modern Chinese Drama ‘s excellent selection, colloquial and stage-friendly translations, and illuminating introduction undoubtedly make the volume the authoritative choice in teaching and reading modern Chinese drama for the foreseeable future.
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