Western Receptions And Studies Of Chinese Theatre Before 1840

As world history came to the Age of Exploration,Chinese theatre began to be'discovered' by another civilization and to be observed in the term 'the Constitutive Other'.Scholars have gradually become aware of the significance to observe the position of Chinese theatre by the Western 'other',and have begun to understand the changes and revisions of the position of Chinese theatre through history in the west.This has enabled objective comparisons and definitions to be made,which ultimately leads to self-knowledge in Chinese theatre.This dissertation focuses on the Western accounts,translations,adaptations,and studies of Chinese theatre from the time of the missionary entered China to 1840.In this dissertation,an attempt is made to outline the process:from the initial encounter,through identification,experience,comparison and the inevitable misunderstanding and conflict,to achieve an expected cultural blending,and to provide the reader with a historical panorama.Firstly,this dissertation explores the origins of the reception of Chinese theatre in Europe,which is the Chinese culture and chinoiserie in theatre in Europe,sparked by the return of Chinese cultural information from the missionaries,and summarises the causes and connotations of the exchange between Chinese and Western theatre in the form of Joseph de Premare's translation of The Orphan of Zhao.Secondly,it is analyses the chinoiserie in Europe in the 18th century,especially the performance of "Chinese plays",to identify the European position on the acceptance of heterogeneous cultures and their misconnection,in order to distinguish the cultural basis of their reception of Chinese theatre.Thirdly,it is focusing on the translation and study of Western theatre that unfolded in the ensuing period.It then delves into the achievements and shortcomings of three important scholars of European Chinese theatre translation studies,John F.Davis,Stanislas Julien,and Antoine Bazin,and makes an overall judgment and assessment of their work.It identifies the form of Chinese theatre in Western assessment,thereby establishing a system of reference for the 'other' and providing a framework for understanding the positive and negative influences that Chinese theatre has had in the world.The other's image of Chinese theatre is part of the West's discovery of China,and Chinese theatre has become an important way for Westerners to understand China.It is a projection of the West itself,a measure and comparison of the West's own civilization as the highest standard,a measure of Chinese theatre in terms of the Western theatre standard.In terms of its perception of Chinese theatre,it uses Chinese theatre as a self-reference for Western theatre to represent the West and perceive itself.On the other hand,for Chinese theatre,the Western commentary is offering an other's perspective and a cultural standard out of its own civilization.This perspective allows Chinese theatre to discover ignored characteristics and characters.The aesthetic of the Westerners also provides Chinese theatre a new contrast for examining its own aesthetic categories,reflecting on the cultural aesthetic of Chinese,and reflecting its own values.The resulting use of the other's perspective brings about a recognition of the Chinese theatre itself,allowing it to adhere to the ontological and corrective deviating parts of Chinese theatre.