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        <identifier>oai:figshare.com:article/32639301</identifier>
        <datestamp>2026-10-01T16:40:58Z</datestamp>
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          <dc:title>Translating Peking opera for the Anglophone stage</dc:title>
          <dc:creator>Hong Li (20183)</dc:creator>
          <dc:subject>PUREID: 576117673</dc:subject>
          <dc:subject>Peking Opera</dc:subject>
          <dc:subject>xiqu</dc:subject>
          <dc:subject>translation and performance</dc:subject>
          <dc:subject>translation approaches</dc:subject>
          <dc:subject>translating aesthetics</dc:subject>
          <dc:subject>translation process</dc:subject>
          <dc:subject>collaboration</dc:subject>
          <dc:subject>contingency</dc:subject>
          <dc:subject>stage-audience complicity</dc:subject>
          <dc:subject>dramaturgical acts</dc:subject>
          <dc:subject>interweaving cultures in performance</dc:subject>
          <dc:subject>practice-as-research</dc:subject>
          <dc:subject>performability</dc:subject>
          <dc:subject>performativity</dc:subject>
          <dc:description>In any discussion of the translation and exchange of traditional Chinese theatre (&lt;i&gt;xiqu&lt;/i&gt; in Chinese), Peking Opera (&lt;i&gt;jingju&lt;/i&gt;) in particular, the focus should not only be on its literary value but also on the power of its form in performance. The intricacies of the &lt;i&gt;xiqu&lt;/i&gt; form and its different conception of theatre-making engender many difficulties for both the production and reception of the translated &lt;i&gt;xiqu&lt;/i&gt; plays in non-Chinese contexts. In great part, of course, this is because the theatre translator’s decisions are largely conditioned by the contingency of production and reception in a specific context, so that the stage-worthiness of a translated &lt;i&gt;xiqu&lt;/i&gt; play is tested and realised through the collaborative work of the translator and the target non-Chinese production team in order to ensure a meaningful audience experience. The stage translators and production teams constantly negotiate between loss and gain in the process of re-creating the theatrical and aesthetic impacts of the original &lt;i&gt;xiqu&lt;/i&gt; forms in the target performance. These issues of &lt;i&gt;xiqu&lt;/i&gt; translation for performance require a practice-based research design for us to fully examine these translation approaches and production collaboration. This thesis consists of three parts in terms of design: a contextual examination of the form of Peking Opera (and some other &lt;i&gt;xiqu&lt;/i&gt; forms), and discussion of intercultural encounter and exchange in two recent translations and one related staging of this form (with the second case being my own practice-as-research study).&lt;br&gt;&lt;br&gt;&lt;i&gt;Thesis is embargoed until 31 July 2029&lt;/i&gt;.&lt;br&gt;&lt;br&gt;</dc:description>
          <dc:date>2026-10-01T16:40:58Z</dc:date>
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          <dc:identifier>10.17034/32639301.v1</dc:identifier>
          <dc:relation>https://figshare.com/articles/thesis/Translating_Peking_opera_for_the_Anglophone_stage/32639301</dc:relation>
          <dc:rights>All Rights Reserved</dc:rights>
          <dc:rights>Open Access after 2029-07-31</dc:rights>
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