Sinophone Adaptations of Shakespeare

<p>Chapter 1. Sinophone Shakespeares: A Critical Introduction, Alexa Alice Joubin.- Part 1. Existentialist Questions in Post-socialist China and Post-Martial-Law Taiwan.-&nbsp;Chapter 2.&nbsp;Hamlet&nbsp;as Political Theatre in Beijing: 哈姆雷特by Lin Zhaohua 林兆華 (1990), translated by Steven L. Riep and Ronald Kimmons and introduced by Steven Riep.-&nbsp;Chapter 3.&nbsp;Hamlet&nbsp;as Parody in Taipei:&nbsp;Shamlet&nbsp;莎姆雷特 (Hamlet) by Lee Kuo-hsiu 李國修 (1992 / 2008), translated by Christopher Rea and introduced by Alexa Alice Joubin.-&nbsp;Part 2. Bewitched by&nbsp;Kunqu&nbsp;Opera and Avant-Garde Theatre.-&nbsp;Chapter 4. An Operatic&nbsp;Macbeth&nbsp;in Shanghai:&nbsp;Story of Bloody Hands&nbsp;血手記 by Huang Zuolin 黃佐臨&nbsp; (1987 / 2008), translated by Siyuan Liu and introduced by Alexa Alice Joubin.-&nbsp;Chapter 5. A Feminist&nbsp;Macbeth&nbsp;in Tainan:&nbsp;The&nbsp;Witches’ Sonata&nbsp;女巫奏鳴曲．馬克白詩篇by Lü Po-shen呂柏伸(2007), translated and introduced by Yilin Chen.-&nbsp;Part 3. Self-Identities in Traditional and Experimental&nbsp;Jingju&nbsp;Opera.-&nbsp;Chapter 6. A Confucian&nbsp;King Lear&nbsp;in Shanghai:&nbsp;King Qi’s Dream&nbsp;岐王夢 (King Lear) by Shanghai Jingju Theatre Company (1995), translated by Dongshin Chang and introduced by Alexa Alice Joubin.-&nbsp;Chapter 7. A Buddhist&nbsp;King Lear&nbsp;in Taipei:&nbsp;Lear Is Here李爾在此by Wu Hsing-kuo 吳興國, Contemporary Legend Theatre (2001), translated and introduced by Alexa Alice Joubin.-&nbsp;Coda: Chapter 8.&nbsp;Coda: Theatrical Bricolage of Hamlet, King Lear, Macbeth,and Othello in Beijing, 1986&nbsp;</p>

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