A. General Works and Collections of Essays on Chinese Theater

Arlington, L.C. Chinese Drama from the Earliest Times Until Today. (Shanghai, 1930; Rpt. New York: B. Blom, 1966).

Brandon, James R., ed. The Cambridge Guide to Asian Theatre. New York: Cambridge University Press, 1997.

Brusak, Karl. "Signs in the Chinese Theater," Semiotics of Art: Prague School Contributions, eds. Ladislav Matejka and Irwin R. Titunik. (Cambridge: Massachusetts Institute of Technology, 1976), 59-73.

Crump, James I. and William P. Malm, ed. Chinese and Japanese Music Dramas. (Ann Arbor: University of Michigan Center for Chinese Studies, 1975).

Dolby, William. A History of Chinese Drama. (New York: Barnes and Noble, 1976; London: Paul Elek, 1976).Eberstein, Bernd, ed. Selective Guide to Chinese Literature 1900-1949, Vol. 4: The Drama (Leiden: E. J. Brill, 1990).

Garland Encyclopedia of World Music, Vol. 7: East Asia: China, Japan, and Korea, ed. Robert C. Provine, Yoshiko Tokumaru, and Lawrence Witzleben (Hamden, CT: Garland, 1999).

Hanan, Patrick D. "Development of Fiction and Drama," in The Legacy of China, ed. Raymond Dawson. (London: Oxford University Press,1964), 115-143.

Hsia, Adrian, "Berthold Brecht in China and His Impact on Chinese Drama: A Preliminary Examination," Comparative Literature Studies 20 (1983).

Lopez, Manuel D., comp. Chinese Drama: An Annotated Bibliography of Commentary, Criticism, and Plays in English Translation. (Metuchen, NJ: Scarecrow Press, 1991).

Luk, Yun-tong. "The Concept of Tragedy as Genre and Its Applicability to Classical Chinese Drama." The Chinese Text, ed. Ying-hsiung Chou (Hong Kong: Chinese University Press, 1986), pp. 15-27.

_________, ed. Studies in Chinese-Western Comparative Drama. Hong Kong: Chinese University Press, 1990.

Mackerras, Colin. Chinese Drama: A Historical Survey. (Beijing: New World Press, 1990).

_________, (ed.). Chinese Theater from its Origins to the Present Day. (Honolulu: University of Hawaii Press, 1983).

_________. The Performing Arts in Contemporary China. (London: Routledge and Kegan Paul, 1981).

Onoe, Kanehide, ed. Research on Chinese Traditional Entertainments in Southeast Asia, Part I: Hong Kong. Tokyo: Institute of Oriental Culture, University of Tokyo, 1982.

Pimpaneau, Jacques. Chanteurs, Conteurs, Bateleurs. (Paris: Univ. Paris 7 Centre de Pub. Asie Orientale, 1978).

Tatlow, Anthony and Tak-wai Wong, ed. Brecht and East Asian Theatre. (Hong Kong: Chinese University Press, 1982.

Yu, Clara Cuadrado. "Cross-Cultural Currents in the Theatre: China and the West," New Asia Academic Bulletin 1 (1978), 217-237; rpt. China and the West: Comparative Literature Studies, ed. William Tay (Hong Kong: Chinese University Press, 1980), pp. 217-237.

Yu Ta-kang. "Chinese Acrobatics, Part IV: Acrobatics During the Liao, Chin and Yuan Dynasties," Echo 6.3 (1976), 30-31.

B. General Works: Theater in Society

Hegel, Robert E. "Distinguishing Levels of Audiences for Ming-Ch'ing Vernacular Literature," Popular Culture in Late Imperial China, eds. David Johnson, Andrew J. Nathan, Evelyn S. Rawski (Berkeley: University of California Press, 1985), 112-142.

Knapp, Bettina L. Theatre and Alchemy. Detroit: Wayne State Univ. Press, 1981.

Lagerwey, John. Taoist Ritual in Chinese Society and History. New York: Macmillan, 1987.

Picken, Laurence. Music from the T'ang Court. Cambridge Univ. Press, 19 , 1984, 1990; 3 vols.

Sutton, Donald S. "Ritual Drama and Moral Order: Interpreting the Gods' Festival Troupes of Southern Taiwan," Journal of Asian Studies 49:3 (1990), 535-554.

Tanaka, Issei. "The Social and Historical Context of Ming-Ch'ing Local Drama," Popular Culture in Late Imperial China, eds. David Johnson, Andrew J. Nathan, Evelyn S. Rawski (Berkeley: University of California Press, 1985), 143-160.

Ting Nai-tung & Lee-hsia Hsu Ting. Chinese Folk Literature: A Bibliographical Guide. Taipei: CMRASC, 1975.

C. Other Asian Traditions

Akira Goto & Sweeney, P.L. Amin, eds. International Seminar on the Shadow Plays of Asia, Tokyo 18-22 June 1975 Vol XV, Nos. 1-4 (Tokyo: Centre for East Asian Cultural Studies 1976) Exception Series.

Araki, James T. The Ballad-Drama of Medieval Japan. Berkeley: Univ. of California Press, 1964.

Art.Space. "The Hahoe Pyolshin-gut," Koreana 2:2 (1988), 34-41.

Bethe, Monica and Karen Brazell, "The Practice of Noh Theatre," By Means of Performance, ed. Richard Schechner and Willa Appel (New York: Cambridge Univ. Press, 1990), 167-193.

Blackburn, Stuart. Inside the Drama-House: Rama Stories and Shadow Puppets in South India. Berkeley: University of California Press, 1995.

Bombaci, A. "On Ancient Turkish Dramatic Performances," Aspects of Altaic Civilization, ed. Denis Sinor (Bloomington: Indiana Univ. Press, 1963), pp. 87-117.

Brandon, James R. Brandon's Guide to Theater in Asia. Honolulu: University Press of Hawaii, 1976.

Brazell, Karen, ed. Traditional Japanese Theater: An Anthology of Plays. New York: Columbia University Press, 1998.

Cho, Oh Kon. Korean Puppet Theatre: Kkoktu Kaksi. E. Lansing: Michigan State University Asian Studies Center, 1979. (East Asia Series, Occasional Paper No. 6)

Coaldrake, A. Kimi. Women's Gidayu and the Japanese Theatre Tradition. New York: Routledge, 1997.

Inoura, Yoshinobu. A History of Japanese Theatre I, Up to Noh and Kyogen. Tokyo: Kokusai Bunka Shinkokai.

Jones, Clifford R. "Source Materials for the Construction of the Natyamandapa in the Sílparatna and the Tantrasamuccaya Sílpa Bhagam," Journal of the American Oriental Society 93 (1973), 286-96.

Kawatake, Toshio. A History of Japanese Theater, II: Bunraku & Kabuki. Tokyo: Kokusai Bunka Shinkokai, 1971.

Keene, Donald. Bunraku: The Art of the Japanese Puppet Theatre. Palo Alto: Kodansha Intl. Revised pb. ed. 1973.

__________. No: The Classical Theatre of Japan. Palo Alto: Kodansha Intl. Revised pb. ed. 1973.

__________. "Realism and Unreality in Japanese Drama," in Landscapes and Portraits, Donald Keene. Tokyo & Palo Alto: Kodansha Intl., 1971, 52-70.

Kim, Dong Pyo, "Hahoe Mask: Analysis on the Basis of Physiognomy," Korea Journal 32.3 (1992), 103-114.

Law, Jane Marie. Puppets of Nostalgia: The Life, Death, and Rebirth of the Japanese Awaji Ningyô Tradition. Princeton: Princeton University Press, 1997.

Lee, Du-hyun, "Korean Shamans: Role-Playing Through Trance Possession," By Means of Performance, ed. Richard Schechner and Willa Appel (New York: Cambridge Univ. Press, 1990), 149-166.

Luomala, Katherine. Hula Ki'i: Hawaiian Puppetry. Salt Lake City: Brigham Young University Institute for Polynesian Studies, 1984.

Masakutsu, Gunji. Kabuki. Tokyo & Palo Alto: Kodansha Intl., 1969.

Moebirman. Wayang Purwa: The Shadow Play of Indonesia. 1960.

Ortolani, Benito. The Japanese Theatre: From Shamanistic Ritual to Contemporary Pluralism. 1990; rpt. Princeton: Princeton Univ. Press, 1995.

Singer, Noel F. Burmese Puppets. New York: Oxford Univ. Press, 1993.

Traditional Performing Arts of Korea. Seoul: Korean National Commission for UNESCO, 1975.

Van Leest, Hyung-a, "Political Satire in Yanju Pyolsandae Mask Drama," Korea Journal 31:1 (1991),87-109.

Varapande, M.L. Religion and Theatre in Asia. Atlantic Highlands, NJ: Humanities Press, 1982.

Yi Bo-hyung. "Ch'ang: Korea's Classical Opera," Koreana 3:2 (1989), 6-11.

D. Non-Asian Theatrical Traditions (Miscellaneous selections)

Banham, Martin. The Cambridge Guide to Theatre. 2nd ed. New York: Cambridge University Press.

Bristol, Michael D. Carnival & Theatre: Plebeian Culture & the Structure of Authority in Renaissance England. New York: Methuen, 1985.

Carlson, Marvin. Places of Performance: The Semiotics of Theatre Architecture. Ithaca: Cornell University Press, 1989.

Fischer-Lichte, Erika. The Semiotics of the Theater. Bloomington: Indiana University Press, 1992.

Kerr, David. African Popular Theatre From Precolonial Times to the Present Day. Portsmouth, NH: Heinemann, 1995.

Kubiak, Anthony. Stages of Terror: Terrorism, Ideology, and Coercion as Theatre History. Bloomington: Indiana University Press, 1991.

Orgel, Stephen. The Illusion of Power: Political Theater in the English Renaissance Berkeley: Univ. of California Press, 1990.

Proschan, Frank, ed. Puppets, Masks, and Performing Objects from Semiotic Perspectives Special Issue, Semiotica 47 (1983).

Shershow, Scott C. Puppets and "Popular" Culture. Ithaca: Cornell Univ. Press, 1995.

Tillis, Steve. Toward an Aesthetics of the Puppet: Puppetry as a Theatrical Art. Westport, CT: Greenwood, 1992.

Turner, Victor. From Ritual to Theatre: The Human Seriousness of Play. New York: Performing Arts Journal Press, 1982.

Westfall, Suzanne R. Patrons and Performance: Early Tudor Household Revels. Oxford: Clarendon Press, 1990.

Wickham, Glynne. A History of the Theatre. Phaidon, 1985.

Birch, Cyril (ed.). Anthology of Chinese Literature, 2 vols. (Evergreen pb).

Chang, H.C. Chinese Literature: Popular Fiction and Drama (Edinburgh, Chicago, 1973).

Dolby, William (trans.). Eight Chinese Plays from the 13th Century to the Present (New York and London, 1978).

Gunn, Edward M. (ed.). Twentieth-Century Chinese Drama (Bloomington: Indiana University Press, 1983).

Mair, Victor, ed. The Columbia Anthology of Traditional Chinese Literature (New York: Columbia University Press, 1994).

Owen, Stephen, ed. and trans. Anthology of Chinese Literature (New York: Norton, 1996).

Renditions (1973- ; semiannual publication of translations).

A. Ritual Theater (nuoxi/no-hsi )

Luo Jiawen. "Nuotang Opera: A `Living Fossil'," China Reconstructs 36.3 (March 1987), 20-23.

Sutton, Donald S. "Ritual Drama and Moral Order: Interpreting the Gods' Festival Troupes of Southern Taiwan," Journal of Asian Studies 49:3 (1990), 535-554.

Tuo Xiuming. "The 'Nuo' Opera of the Yi Nationality," China Reconstructs 37:7 (July 1988), 29-31.

VanDerLoon, Piet. "Les Origines Rituelles du Theatre Chinois," Journal Asiatique (1977), 141-168.

Wang, C. H. "The Lord Impersonator: Kung-shih and the First Stage of Chinese Drama," The Chinese Text, ed. Ying-hsiung Chou (Hong Kong: Chinese University Press, 1986), pp. 1-14.

Wang, Ch’iu Kuei. "Studies in Chinese Ritual and Ritual Theater: A Bibliographical Report," CHINOPERL Papers 18 (1995), 115-129.

Ward, Barbara. "Not Merely Players: Drama, Act, and Ritual in Traditional China, Man n.s. 14 (1979), 18-39.

Watson, James L. "The Structure of Chinese Funerary Rites: Elementary Forms, Ritual Sequence, and the Primacy of Performance," Death Ritual in Late Imperial and Early Modern China, ed. James L. Watson and Evelyn S. Rawski (Berkeley: Univ. of California Press, 1988), 3-19.

B. Early Entertainments

Xia Jingfeng. "Classical Performers Unearthed," Chinese Literature 1995, No. 1, 144-147.

C. Bianwen/pien-wen: Transformation Texts

Mair, Victor. Painting and Performance: Chinese Picture Recitation and its Indian Genesis. Honolulu: University of Hawaii Press, 1988.

__________. T'ang Transformation Texts. Cambridge: Harvard University Press, 1989.

__________. Tun-huang Popular Narratives. Cambridge: Cambridge University Press, 1983.

Strassberg, Richard E. "Buddhist Storytelling Texts from Tun-huang," CHINOPERL Papers 8 (1978), 39-99.

D. Zhugongdiao/Chu-kung-tiao: Narrative Medleys

Ch'en, Li-li (trans.). Master Tung's Western Chamber Romance (Cambridge, 1976).

__________. "Outer and Inner Forms of Chu-kung-tiao, with Reference to Pien-wen, Tz'u, and Vernacular Fiction," Harvard Journal of Asiatic Studies 32 (1972), 124-149.

__________. "The Relationship between Oral Presentation and the Literary Devices used in Liu Chih-yüan and Hsi-hsiang chu-kung-tiao," Literature East and West 14, IV (1970), 519-527.

Crump, J.I. Jr. "Liu Chih-yüan in the Chinese `Epic', Ballad, and Drama," Literature East and West 14, No. 2 (1970), 154-172.

Dolezelova-Velingerova, Milena and J.I. Crump (trans.). The Ballad of the Hidden Dragon (Oxford, 1971).

Idema, Wilt L. "The Performance and Construction of the Chu-kung-tiao," Journal of Oriental Studies 16:1-2 (1978), 63-78.

Wang, Lily Chen (Ch'en Li-li). "A Study of the Medley: Chinese Chantefable of the Late Twelfth Century." Doctoral dissertation, Harvard, 1969.

West, Stephen. Vaudeville and Narrative: Aspects of Chin Theater. Wiesbaden, 1977.

E. Yuanben/Yüan-pen : Skits and Farces

Crump, James. "Yüan-pen, Yüan Drama's Rowdy Ancestor," Literature East and West 14:4 (1970), 473-490.

Dolby, Eight Chinese Plays, pp. 21-29.

Idema, Wilt I. "Yüan-pen as a Minor Form of Dramatic Literature in the Fifteenth and Sixteenth Centuries," CLEAR 6.1-2 (1984), 53-75.

Maeda, Robert I. "Some Sung, Chin, and Yüan Representations of Actors," Artibus Asiae 41.2-3 (1979), 132-156.

Shan Xi. "Sung-Dynasty Pottery Figures of Actors," Chinese Literature 6 (1980), 121-125.

West, Stephen. Vaudeville and Narrative: Aspects of Chin Theater. Wiesbaden, 1977.

Anderson, W.A. "The Chinese Shadow Play," Journal of the North China Branch, Royal Asiatic Society 72 (1946).

Broman, Sven. Chinese Shadow Theatre. Stockholm: Ethnographical Museum, 1987.

_________. "Notes on Chinese Puppetry," Bulletin of the Museum of Far Eastern Antiquities 55 (1983), 89-164.

Chang, Kathy. "The Glory of the Miniature Stage," Free China Review 33.9 (September 1983), 33-44.

Chen Lin-jui. "Chinese Shadow Plays," China Reconstructs 3:4 (July-August,1954), 23-27.

Ch'iu K'un-liang. "Shadow Play Development in Taiwan: Tradition and Diversity," Tamkang Review 12.3 (1972), 277-284.

Chou Ti. "Puppetry in China," Chinese Literature 9 (1978), 103-107.

Dolby, William. "The Origins of Chinese Puppetry," Bulletin of the School of Oriental and African Studies 41 (1978), 97-120.

Huang, Chun-ming. "The Forbidden Puppets," Echo (October 1972), 24-34.

March, Benjamin. Chinese Shadow-Figure Plays and their Making. Detroit, 1938.

Onoe, Kanehide. "Puppet Theater & Storytelling Art in Hong Kong," Research on Chinese Traditional Entertainment in Southeast Asia, ed. Onoe (Tokyo: Institute of Oriental Culture, Univ. of Tokyo, 1982) I, 9-32.

Schipper, K.M. "The Divine Jester: Some Remarks on the Gods of the Chinese Marionette Theater," Academia Sinica Institute of Ethnology Bulletin 21(Spring 1966), 81-94.

Stalberg, Roberta. Chinese Puppets. San Francisco: China Books and Periodicals, 1984.

Su Meng-ping. "The Shadow Master," Free China Review 47.10 (October 1997), 58-65.

Wang, Betty. "In Imitation of Man: The Traditional World of String Puppets," Free China Review 32.10 (October 1982), 31-36.

Wimsatt, Genevieve. Chinese Shadow Plays. Cambridge, Mass., 1936.

Wu, Wei-yun. "Chinese Puppet Theatre," Chinese Literature 2 (1958), 122-126.

Xiang Yun. "Shaanxi Shadow Plays," Chinese Literature 10 (1981), 123-125.

Yu Fen. "The Shadow Theatre and Shadow Puppets," Chinese Literature 6 (1963), 78-83.

A. Studies

Brooks, Ernest Bruce. "Comparative Analysis of Arias in Yüan Ch'ü and Peking Opera." CHINOPERL NEWS 4 (January 1974), 64-75.

Crump, James I. Chinese Theater in the Days of Kublai Khan. Tucson, 1980; rpt. Ann Arbor: University of Michigan Center for Chinese Studies, 1995.

__________. "The Conventions and Craft of Yuan Drama," Journal of the American Oriental Society 91.1 (1971), 14-29; rpt. Studies in Chinese Literary Genres, ed. Birch, pp. 192-219.

_________. Yüan Drama (University of Michigan Center for Chinese Studies Occasional Papers No. 1, 1962).

Dolby, A.W.E. "Kuan Han-ch'ing," Asia Major 16 (1971), 1-60.

Hawkes, David. "Reflections on Some Yüan tsa-chü," Asia Major 16 (1971), 69-81.

Hayden, George A. "The Courtroom Plays of the Yüan and Early Ming Periods," Harvard Journal of Asiatic Studies 34 (1974), 192-220.

__________. "The Legend of Judge Pao: From the Beginnings through the Yuan Dynasty," Studia Asiatica, ed. Laurence G. Thompson (Taipei, 1976).

Idema, Wilt L. and Stephen H. West. Chinese Theater from 1100-1450. Wiesbaden: Franz Steiner, 1982.

Johnson, Dale R. "The Prosody of Yuan Drama," T'oung Pao 56 (1970), 96-146.

__________. Yuarn Music Dramas: Studies in Prosody and Structure and a Complete Catalogue of Northern Arias in the Dramatic Style. Ann Arbor: Center for Chinese Studies, University of Michigan, 1981.

__________. Double Jeopardy: A Critique of Seven Yuan Courtroom Dramas. Ann Arbor: Center for Chinese Studies, University of Michigan, 1978.

__________. "Excursions to Xanadu: Criticisms of Yuan Tsa-chu," Tamkang Review 8.2 (October 1977), 101-120.

Seaton, Jerome P. "Mother Ch'en Instructs her Sons: A Yuan Farce and its Implications," Critical Essays on Chinese Literature, ed. William H. Nienhauser (Hong Kong, 1976), 147-157.

Shih, Chung-wen. The Golden Age of Chinese Drama: Yuan tsa-chu. Princeton: Princeton Univ. Press, 1976.

Waley, Arthur (trans.). "The Green Bower Collection," in Waley, The Secret History of the Mongols and Other Pieces (London, 1963), 89-107.

West, Stephen. "Mongol Influence on the Development of Northern Drama," China Under Mongol Rule, ed. John D. Langlois, Jr. (Princeton: Princeton Univ. Press, 1981), 434-465.

Wilhelm, Hellmut. "On Chuang-tzu Plays from the Yuan Store," Literature East and West 17 (1973), 244-252.

Wolff, Ernst. "Law Court Scenes in the Yuan Drama," Monumenta Serica 29 (1970-71), 193-205.

Yao, Shu-Hwa. "The Design Within: The Symbolic Structure in Hsi-hsiang-chi," Etudes d'histoire et de litterature chinoises (Paris, 1976), 319-337.

Yü Shiao-ling. "Taoist Themes in Yüan Drama," Journal of Chinese Philosophy (Special Issue: Taoism in Chinese Literature, ed. Hsin-sheng C. Kao).

B. Translations of Northern Zaju

Birch, Anthology, Vol. 1, pp. 393-448.

Chang, Chinese Literature, pp. 57-78.

Cheng T’ing-yü, "The Monk Pu-tai and the Character for Patience," Columbia Anthology of Traditional Chinese Literature, ed. Mair, pp.1223-79.

Crump, Chinese Theater in the Days of Kublai Khan, pp. 199-392.

Dolby, Eight Chinese Plays, pp. 21-30, 53-83.

Guan Han-qing, "Rescuing One of the Girls," Anthology, ed. and trans. Owen, 744-770.

Hayden, George (trans.). "The Ghost of the Pot," Renditions 3 (1974), 32-52.

__________. Crime and Punishment in Medieval Chinese Drama: Three Judge Pao Plays of the Yuan and Ming Dynasties. (Cambridge: Harvard University Press, 1977).

Hsiung, Shih-i (trans.). The Romance of the Western Chamber (Columbia University pb).

Liu, Jung-en (trans.). Six Yuan Plays (Penguin pb).

Matsuda, Shizue (trans.). "Rain on the Wu T'ung Tree," Renditions 3 (1974), 53-61.

Qiao Mengfu. "The Golden Coins," tr. Dale R. Johnson. Renditions 24 (1985), 130-154.

Shih, Chung-wen (trans.). Injustice to Tou O (Cambridge University pb).

Wang Pi-twan, trans. "The Revenge of the Orphan of Chao," Renditions 9 (1978).

West, Stephen, trans. The Moon and the Zither: The Story of the Western Wing. Berkeley: Univ. of California Press, 1990.

Yang Hsien-yi and Gladys Yang. "A Slave to Money," Chinese Literature 9 (1962), 53-92.

Yang Hsien-yi and Gladys Yang (trans.). Selected Plays of Kuan Han-ching (Peking, 1958).

Yen Yuan-shu (trans.). "Yellow Millet Dream," Echo 5.2-3 (1975), 13-23, 94; rpt. Tamkang Review 6 (1975), 205-239.

A. Studies

Birch, Cyril. "The Architecture of the Peony Pavilion," Tamkang Review 10 (1980), 609-640.

__________. "The Dramatic Potential of Xi Shi: Huanshaji and Jiaopaji Compared," CHINOPERL Papers 10 (1981), 129-140.

__________. "Some Concerns and Methods of the Ming Ch'uan-ch'i Drama," Studies in Chinese Literary Genres, ed. Birch, pp. 220-258.

__________. "Tragedy and Melodrama in ch'uan-ch'i Plays: `Lute Song' and `Thorn Hairpin' Compared," Bulletin of the School of Oriental and African Studies 36.2 (1973), 228-247.

_________. Scenes for Mandarins: The Elite Theater of the Ming. New York: Columbia University Press, 1995.

Hanan, Patrick D. The Invention of Li Yü. Cambridge: Harvard Univ. Press, 1988.

Hayden, George A. "Li Li-weng: A Playwright on Performance," CHINOPERL Papers 9 (1979-80), 80-91.

Henry, Eric. Chinese Amusement: The Lively Plays of Li Yü. Hamden, CT: Anchor, 1980.

Hsia, C.T. "Time and the Human Condition in the Plays of T'ang Hsien-tsu," Self and Society in Ming Thought, ed. Wm. T. deBary (New York, 1970), 249-290.

Hung, Josephine Huang. Ming Drama (Taipei, 1966).

Idema, W.L. "Stage and Court in China: The Case of Hung-wu's Imperial Theatre," Oriens Extremus 23:2 (1976), 175-190.

Ito Sohei. "Formation of the Chiao-hung chi: Its Change and Dissemination," Acta Asiatica 32 (1977), 73-95.

Kaldova, Dana. "On the Chinese ch'uan-ch'i drama," Acta Universitates Carolinae: philosophica et historica 5 (1969), 52-71.

__________. "The Life of K'ung Shang-jen," Archiv Orientalni 43 (1975), 55-63.

Lee, Ch'i-fang. "A Bibliography of the Criticism of Chinese Poetic Drama," Tamkang Review. 16.3 (1986), 311-322.

__________. "Tsai Yung and the Protagonist in P'i-p'a chi," Tamkang Review 9 (1978), 141-158.

Mackerras, C.P. "The Growth of Chinese Regional Drama in Ming and Ch'ing," Journal of Oriental Studies 9.1 (1971), 58-91.

Mao, Nathan. "Li Li-weng's Dramatic Theory," Journal of the Chinese Language Teachers Association 10.3 (1975), 108-125.

Mark, Lindy Lee. "Tone and Tune in Kunqu," CHINOPERL Papers 12 (1983), 9-60.

Martin, Helmut. Li Li-weng über das Theatre. Taipei: Mei Ya Publications, 1968.

Strassberg, Richard. "The Singing Techniques of K'un-ch'ü and Their Musical Notation," CHINOPERL Papers 6 (1976), 45-81.

Tanaka, Issei. "A Study of P'i-p'a chi in Hui-chou Drama--Formation of Local Plays in Ming and Ch'ing Eras and Hsin-an Merchants," Acta Asiatica 32 (1977), 34-72.

Wang Chi-ssu. "The Peach Blossom Fan and its Author," Chinese Literature 2 (1963), 98-105.

__________. "Tang Hsien-tsu, Great Sixteenth Century Dramatist," Chinese Literature 1 (1960), 90-95.

Yee, Edmond. "Ming Drama: A Selected and Annotated Bibliography," Ming Studies 28 (1989), 46-64.

Zbikowski, T. Early Nan-hsi Plays of the Southern Sung Period (Warsaw, 1974).

B. Southern Plays in English Translation

Hung Sheng. The Palace of Eternal Youth, trans. Yang Hsien-yi and Gladys Yang (Peking 1955) excerpts in Chinese Literature 4 (1954), 69-105; Owen, Anthology, pp. 973-1102.

Kao Ming. The Lute, trans. Jean Mulligan (New York, 1980); excerpts in Chang, Chinese Literature, pp. 79-122; Mair, Columbia Anthology, pp. 1285-95.

K'ung Shang-jen. The Peach Blossom Fan, trans. Ch'en, Acton, Birch (Berkeley, 1976); excerpts in Chang, pp. 303-328; Chinese Literature 2 (1963), 65-77; Owen, Anthology, pp. 942-972; Mair, Columbia Anthology, pp. 1306-15.

Liang Ch'en-yu, "Washing Silk," excerpt in Dolby, pp. 84-92.

Scott, A.C. (trans.). Traditional Chinese Plays, Vol. 2 (Madison, 1969).

T'ang Hsien-tsu. Peony Pavilion, trans. Cyril Birch (Bloomington; Indiana Univ. Press, 1980); excerpts in Chang, pp. 263-302; Birch, Anthology, Vol. 2, pp. 87-126, Chinese Literature 1 (1960), 43-89, Renditions 3 (1976), 149-173; Owen, Anthology, pp. 880-906.

A. Studies

An Kui, "Jiangxi's 'Tea-Picking' Opera," Chinese Literature, Winter, 1987, pp. 177-180.

Arlington, L.C. The Chinese Drama. Shanghai, 1930; rpt. New York, 1966.

Chang, Donald, John D. Mitchell and Roger Yeu. "How the Chinese Actor Trains: Interviews with Two Peking Opera Performers," Educational Theatre Journal 26 (1974), 183-191.

Chang, Po-chin. Chinese Opera and Painted Face. Taipei, 1969.

Chang, Violet. "A Passion for Pangtze," Free China Review 48.2 (Feb. 1998), 58-65.

Feng Jing, "New Pingju Opera Reflects Rural Life," Beijing Review 34:25 (June 1991) 45-46.

Gong Hede. "Chinese Opera Facial Designs," Chinese Literature 4 (1979), 111-117.

Halson, Elizabeth. Chinese Opera. London, 1966.

Hsiao, Chang-hua et. al. "The Clown in Traditional Chinese Theatre," Chinese Literature 4 (1963), 104-113.

Hsu, Tao-ching. The Chinese Conception of the Theatre. Seattle: Univ. of Washington Press, 1985.

Hung, Josephine Huang. Children of the Pear Garden. Taipei, 1968.

Liu Hu-sheng. "'At the Crossroad Inn,'" Chinese Literature 3 (1979), 109-111.

Liu Naichong. "The Beijing Opera `Autumn River,'" Chinese Literature 6 (1979), 118-121.

__________. "The Beijing Opera `The Conqueror Bids Farewell to Lady Yu,'" Chinese Literature 9 (1979), 107-111.

Mackerras, Colin P. Chinese Theatre in Modern Times from 1840 to the Present. Amherst: University of Massachusetts Press, 1975.

__________. The Rise of the Peking Opera. London, 1972.

__________. "Theater and the Taipings," 30th International Congress of Human Sciences in Asia and North Africa, 1976: China 1, ed. Graciela de la Lama (Mexico, D.F.: El Colegio de Mexico, 1982), 236-258.

Mao Chi-tseng. "Traditional Chinese Orchestras," Chinese Literature 6 (1964), 102-108.

Mei Lan-fang. "An Actor Prepares," trans. Stephen C. Soong. Renditions 3 (1974), 115-116.

__________. "My Life on the Stage," Chinese Literature 11 (1961), 3-35.

__________. "My New Opera," Chinese Literature 10 (1959), 132-139.

__________. "Old Art with a New Future," China Reconstructs 1.5 (September-October 1952), 21-24.

__________. "Picturing Characters of the Stage," China Reconstructs 10.10 (October 1961), 38-39.

Mindich, Jeffrey H. "The Classic Sounds of Nan-kuan," Free China Review 38:8 (August 1988), 58-63.

__________. "A Surviving Grandeur," Free China Review 38:8 (August 1988), 64-69 [on the music of nan-kuan].

Pian, Rulan Chao. "Aria Structure Patterns in the Peking Opera," Chinese and Japanese Music Dramas, eds. Crump and Malm, pp. 65-98.

__________. "Musical Elements in the Peking Opera Bah Wang Bye Ji," CHINOPERL Papers 12 (1983), 61-83.

Riley, Jo. Chinese Theatre and the Actor in Performance. New York: Cambridge University Press, 1997.

Scott, A. C. Mei Lan-fang, Leader of the Pear Garden (Hong Kong: Hong Kong Univ. Press, 1959).

Sheng, Virginia. "An Art Reunited," Free China Review 45:8 (1995), 8-17.

Siu Wang-Ngai and Peter Lovrick. Chinese Opera: Images and Stories. Seatttle: University of Washington Press, 1997.

Tso Lin. "The Chinese and Western Theatres: A Study in Contrasting Techniques," Chinese Literature 8 (1962), 101-111.

Ward, Barbara E. "Regional Operas and Their Audiences: Evidence From Hong Kong," Popular Culture in Late Imperial China, eds. David Johnson, Andrew J. Nathan, Evelyn S. Rawski (Berkeley: University of California Press, 1985) pp. 161-187.

Wei Tzu-yün. "The Treatment of Time and Space on Peking Opera Stage," Tamkang Review 12:3 (1982), 285-293.

Wichmann, Elizabeth. Listening to Theatre: The Aural Dimension of Beijing Opera. Honolulu: Univ. of Hawaii Press, 1989.

Yang, Daniel S., comp. An Annotated Bibliography of Materials for the Study of the Peking Theatre. Madison: University of Wisconsin Press, 1967.

Yung, Bell. Cantonese Opera: Performance as Creative Process. New York: Cambridge University Press, 1989.

Zung, Cecelia. Secrets of the Chinese Drama. Shanghai, 1937; rpt. New York: Blom, 1964.

B. Translations of Plays from Traditional Regional Theaters

Arlington, L.C. and Harold Acton, trans. Famous Chinese Plays. Peiping, 1937.

Chang, Donald K & Mitchell, John D., trans. & ed. The Fox Cat Substituted for the Crown Prince. Midland, MI: Northwood Institute Press, 1985.

Dolby, Eight Chinese Plays, 103-152.

Gamble, Sidney. Chinese Village Plays from the Ting Hsien Region. Amsterdam: Philo, 1970.

Hung, Josephine Huang, trans. Classical Chinese Plays. Taipei, 1971.

__________ (trans.). The Jewel Bag (Taipei: Mei Ya, 1974); excerpts in Renditions 3 (Autumn 1974), 91-101.

"Li Kuei the Black Whirlwind," Chinese Literature 8/1960, pp. 108-144.

Mitchell, Red Pear Garden, pp. 49-202.

Scott, A.C., trans. Traditional Chinese Plays, Vols. 1, 3. Madison: University of Wisconsin Press, 1967, 1973.

Wang, Elizabeth, trans. Snow Elegant. Taipei, 1971.

Yang Hsien-yi and Gladys Yang, trans. The Fisherman's Revenge. Peking: Foreign Languages Press, 1956.

__________. Love Under the Willows. Peking: Foreign Languages Press, 1956.

__________. The White Snake. Peking: Foreign Languages Press, 1957.

Yao Hsin-nung (trans.). "The Right to Kill," T'ien Hsia Monthly 2:5 (1936), pp. 468-507.

Haseltine, Patricia L. Folk Enactment in Taiwanese Local Opera. Dissertation: Indiana University, 1978.

__________. "The Wen & Wu Enactment of a ~Taiwanese Opera Troupe," Tamkang Review 9.4 (1979), 427-50.

Hegel, Robert E. "Opera in the Streets" [Taiwanese] Echo 3.4 (April 1973), 26-35.

Holm, David. "Folk Art as Propaganda: The Yangge Movement in Yan'an," Popular Chinese Literature in Performing Arts, ed. Bonnie S. McDougall (Berkeley: Univ. of California Press, 1984), 3-35.

__________. "Hua Guofeng and the Village Drama Movement in the Northwest Shanxi Base Area, 1943-45," China Quarterly 84 (December 1980), 669-93.

Kaldova, Dana. "Clowns in the Szechuan Theatre," Bulletin of the School of Oriental and African Studies 18 (), pp. 356-62.

__________. "The Origins and Character of the Szechwan Theatre," Archiv Orientalni 34 (1966), 505-523.

Li Hui-ching. "The Achievements of `Third Sister Liu'," Chinese Literature 2 (1961), 111-20.

Perris, Arnold. "Chinese Wayang: The Survival of Chinese Street Opera in Singapore," Ethnomusicology 20.2 (May 1978), 287-306.

Tan Sooi Beng. Ko-tai: A New Form of Chinese Urban Street Theatre in Malaysia Singapore: Institute of Southeast Asian Studies Research Notes and Discussion Paper No. 40, 1984.

Tanaka, Issei. "Hoklo Opera in Hong Kong," Research on Chinese Traditional Entertainments in Southeast Asia, ed. Onoe Kanehide (Tokyo: Institute of Oriental Culture, University of Tokyo, 1982), 33-108.

Wang Fei-yun. "Old Opera, New Moral." Free China Review 45.6 (1995), 70-76.

Young, Lung-chang. "The Dynamics of Popular Culture: Regional Theatres in Kiangsu," Journal of Popular Culture (Bowling Green: 1973), 51-67.

Yung, Bell. Cantonese Opera: Performance as Creative Process. Cambridge: Cambridge University Press, 1989.

A. General Studies

Chen, David Y. "The Hairy Ape and The Peking Man: Two Types of Primitivism in Modern Society," Yearbook of Comparative-General Literature 15 (1966).

Chou Liang. "The Peking People's Art Theater," Chinese Literature 1 (1964), 101-113.

Davis, A.R. "Out of Uncle Tom's Cabin, Tokyo, 1907: A Preliminary Look at the Beginnings of the Spoken Drama in China," Journal of the Oriental Society of Australia 6.1-2 (1968-1969), 33-49.

Du Wenwei. "A Bibliography of Chinese Secondary Materials for the Study of Modern Chinese Spoken Drama (Huaju)," manuscript, 1987.

Hsueh, Daphne C. "Why Nora?--Ibsen's A Doll's House in China and its Early Imitations," Journal of the Chinese Language Teachers Association 16.3 (October 1981), 1-18.

Lau, Joseph S.M. "Two Emancipated Phaedras: Chou Fan-yi and Abbie Putnam as Social Rebels," Journal of Asian Studies 25.4 (1966).

Liang Bing kun. "Jiao Juyín, the Pioneer of Chinese Modern Drama," Chinese Literature (Summer 1987), 195-200.

Liu Zhangchun. "The Beijing People's Art Theatre," China Pictorial 10/1993, 34-37.

Mackerras, Colin. Amateur Theatre in China 1946-1966. The Australian National University Contemporary China Papers, No. 5 (1973).

Meserve, Walter J. and Ruth I. "Uncle Tom's Cabin and Modern Chinese Drama," Modern Drama 17 (1974), 57-66.

Ouyang, Yu-chien. "The Modern Chinese Theatre and the Dramatic Tradition," Chinese Literature 11 (1959), 102-123.

Pickowicz, Paul G. "Sinifying and Popularizing Foreign Culture: From Maxim Gorky’s The Lower Depths to Huang Zuolin’s Yedian." Modern Chinese Literature 7 (1993), 7-31.

Scott, Adolphe C. Literature and the Arts in Twentieth Century China. Garden City, NJ: Anchor Books, 1963. (Chapter III)

Shu Chiang. "The Actor's Contradictions," Chinese Literature 1 (1964), 92-100.

__________. "How Chinese Theater Moved to the Left in the Pre-War Years," Educational Theater Journal 27 (1975), 245-256.

Tam, Kwok-kan. "Ibsen and Modern Chinese Dramatists: Influences and Parallels," Modern Chinese Literature 2.1 (1986), 45-62.

Tung, Constantine. "The Crescent Moon and Modern Chinese Drama: A Study of Modern Chinese Intellectual Response to Tradition and Innovation," Asian Thought and Society 4.12 (December 1979), 303-312, and 5.13 (April 1980), 14-20.

__________. and Colin Mackerras, ed. Drama in the People's Republic of China. Albany: State University of New York Press, 1987.

Wagner, Rudolf G. Contemporary Chinese Historical Drama. Berkeley: University of California Press, 1990.

Yip, Terry Siu-han. "Goethe's Impact on Modern Chinese Drama," Modern Chinese Literature 2.1 (1986), 29-44.

B. Noted Playwrights and their Works

1. Cao Yu (Ts'ao Yü) (b. 1910)

Bright Skies (1954). Peking: Foreign Language Press, 1960.

The Consort of Peace, tr. Monica Lai. Hong Kong: Kelly & Walsh, 1980. Act I. Chinese Literature 11 (1980), 3-28.

Peking Man, tr. Leslie N. Lo, Don Cohn, and Michelle Vosper. New York: Columbia University Press, 1986.

Sunrise, tr. A.C. Barnes. Peking: Foreign Language Press, 1960.

Thunderstorm, tr. A.C. Barnes. Peking: Foreign Language Press, 1958; excerpt Act 1. Chai and Chai, Treasury, pp. 433-475.

The Wilderness, tr. Christopher C. Rand and Joseph S. M. Lau. Hong Kong: Hong Kong University Press, 1980. Tr. Jane Lai, Renditions 4 (Spring 1975), 102-115.

Cao Yu. "Not My Swan Song--A Few Words About Wang Zhaojun," Chinese Literature 11 (1980), 3-5.

Ch'en, David Y. "The Trilogy of Ts'ao Yü and Western Drama," in Horst Franz, Asia and the Humanities. Bloomington: Indiana University Press, 1959.

Hu, John Y.H. Ts'ao Yü. New York: Twayne, 1972.

Lau, Joseph S.M. Ts'ao Yü. Hong Kong University Press, 1970.

__________. "Ts'ao Yü, the Reluctant Disciple of Chekhov: A Comparative Study of Sunrise and The Cherry Orchard," Modern Drama 9.4 (1967).

2. Guo Moruo (Kuo Mo-jo)  (1892-1978)

Chu Yuan (1942). Peking: Foreign Language Press, 1953.

Five Historical Plays. Beijing: Foreign Language Press, 1984.

3. Hong Shen (Hung Shen)  (1894-1955)

Brown, Carolyn T. "Creative Imitation: Hung Shen's Cultural Translations of Eugene O'Neill's The Emperor Jones," Comparative Literature Studies 22.1 (Spring 1985), 147-55.

4. Lao She  (1899-1966)

Dragon Beard Ditch, tr. Liao Hung-ying. Peking: Foreign Languages Press, 1956; rpt. Meserve and Meserve, pp. 43-104.

Teahouse, tr. John Howard-Gibbon. Beijing: Foreign Languages Press, 1980.

Ying Ruocheng. "Labor of Love--[A Review of] Stage Art in Teahouse," Beijing Review 23.39 (29 September 1980), 38.

5. Tian Han (T'ian Han)  (1898-1968)

Kuan Han-ching. Peking: Foreign Language Press, 1961.

Häringova, Jarmila. "The Development of T'ien Han's Dramatic Writings During the Years 1920-1937," Studien zur Modernen Chinesischen Literatur, ed. Jaroslav Prusek (Berlin: Akademia Verlag, 1964), pp. 131-157.

Tung, Constantine. "Lonely Search into the Unknown: T'ien Han's Early Plays, 1920-1930," Comparative Drama 2 (Spring 1968), 44-54.

__________. "T'ien Han and the Romantic Ibsen," Modern Drama 9.4 (1967).

The White Snake (a Beijing Opera) Chinese Literature 10 (1979), 11-62.

Bernard, Elizabeth Jeannette. "T'ien Han's `Reactionary Works': 1956-1962," 30th International Congress of Human Sciences in Asia and North Africa, 1976: China 1, ed. Graciela de la Lama (Mexico, DF: El Colegio de Mexico, 1982), 288-323.

6. Wu Han  (1909-1969)

Hai Rui Dismissed from Office, tr. C.C. Huang. Honolulu: University Press of Hawaii, 1972.

Ansley, Clive. The Heresy of Wu Han: His Play "Hai Jui's Dismissal" and its Role in China's Cultural Revolution. Toronto: University of Toronto, 1971.

Pusey, James R. Wu Han: Attacking the Present through the Past. Harvard East Asian Monograph #33, 1970.

7. Xia Yan (Hsia Yen) (1900-)

"The Test," Chinese Literature 4 (1955), 3-69; (rpt. Peking: Foreign Language Press, 1956).

"Under the Eaves of Shanghai," tr. Yao Hsin-nung, Renditions 3 (Autumn 1974), 128-148.

"Contract Labor," Chinese Literature 8 (1960), 47-63.

C. Plays in Translation

Cheung, Martha and Jane Lai, ed. An Oxford Anthology of Contemporary Chinese Drama. Hong Kong: Cambridge University Press, 1997.

Gunn, Edward M. Twentieth-Century Chinese Drama: An Anthology. Bloomington: Indiana University Press, 1983.

Meserve, Walter J. and Ruth I. Meserve (eds.). Modern Drama from Communist China. New York: New York University, 1970.

Xing Yixun. Power Versus Law, Chinese Literature 6 (1980), 31-91.

Peking People's Art Theatre. "Between Husband and Wife," in The Women's Representative. (Peking: Foreign Language Press, 1956), 95-118.

Shen Hsi-meng, Mo Yen and Lu Hsing-chen. On Guard Beneath the Neon Lights. Peking: Foreign Language Press, 1966; see: "On Guard Beneath the Neon Lights," Chinese Literature 8 (1963), 126-131.

Ting Hsi-lin (1893-1974). "Oppression," tr. Joseph S.M. Lau, Renditions 3 (Autumn 1974), 117-124; see: Lau, Joseph S.M. "Oppression as a Situational Comedy: A Note on the Stagecraft of Ting Hsi-lin," Critical Essays on Chinese Literature, ed. William H. Nienhauser (Hong Kong: Chinese University Press, 1976), 113-134.

Yao Hsin-nung. The Malice of Empire. Berkeley: University of California Press, 1970. Excerpts in Birch, Anthology of Chinese Literature, Vol. 2, pp. 375-400.

Yu, Siao-ling S., ed. Chinese Drama After the Cultural Revolution, 1979-1989. Lewiston, ME: Edwin Mellen, 1996.

Zong Fuxian. "When All Sounds are Hushed," Chinese Literature 4 (1979), 3-56; see: Zong Fuzian. "My Wish," Chinese Literature 4 (1979), 57-59; Cao Yu. "A Thunderclap," Chinese Literature 4 (1979), 60-63; "The Modern Play `Where the Silence is,'" Peking Review 21.47 (24 November 1978), 11-12; see: Weiss, Ruth. "A Sign of Daring and Maturity: The Drama When All Sounds are Hushed," Eastern Horizon 18.4 (1979), 18-23.

A. General Studies

Chang, Kathy. "Red Chambers as Dance," Free China Review 33:12 (December 1983), 18-23; see: Huang Yu mei. "Forging Reality for Make-Believe," pp. 24-30.

Chen Ailian. "Orphan to Ballerina," Chinese Literature 2 (1982), 126-134.

Chung Cheng. "`The East is Red'--A Magnificent Pageant," Chinese Literature 12 (1964), 86-95.

Dai Ailian. "Long History of Dance in China," Beijing Review 25.46 (15 November 1982), 27-28.

"The Dunhuang Murals Leap to Life," Beijing Review 29:35 (23 June1986), 32-34.

Ma K'o. "From `Yangko' Opera to "The White-haired Girl,': Yenan Forum Reminiscences," Peking Review 5.21 (25 May 1962), 20-22.

Strauss, Gloria B. "Dance and Ideology in China: A Study of Ballet in the People's Republic," Asian and Pacific Dance, ed. A.Kaeppler, J. van Zile, C. Wolz (New York: Congress on Research in Dance, 1977), 19-53.

__________. "The Tradition of Warrior Heroines in Chinese Myth, Dance, and Drama," Dance as Cultural Heritage, ed. Betty True Jones, Vol. I (New York: Congress on Research in Dance, 1983), 16-31.

Tannenbaum, Gerald. "The New Ballet in China," East Horizon 4:10 (October 1965), 7-19.

Tseng Yung-li. "The Journeys of a New Generation," Free China Review 35:6 (June 1985), 10-19.

Yang Juan. "Dai Ailian, A Noted Dancer and Choreographer," Chinese Literature 5 (1982), 111-122.

Yu Hua-hai. "First Ballet in Chinese Style," China Reconstructs 7:5 (May 1958), 10-12.

B. The White-Haired Girl

Ho Ching-chih and Ting Yi. The White-Haired Girl. Peking: Foreign Languages Press, 1954.

Ting Yi and Ho Ching-chih. "The White-Haired Girl," tr. Yang Hsien-yi and Gladys Yang, Chinese Literature 2 (1953), 38-109; rpt. Walter J. Meserve and Ruth Meserve, eds., Modern Drama from Communist Drama (New York: New York University Press, 1970), pp. 105-180.

(Ho Ching-chih and Ting Yi.) "The White-Haired Girl," tr. Yang Hsien-yi and Gladys Yang, in Five Chinese Communist Plays, ed. Martin Ebon (New York: J. Day, 1975), pp. 28-117.

"Ballet Goes to the Countryside," Chinese Literature 5 (1966), 147-148.

Chang Keng. "My Recollection of the Production and First Performances of `The White-Haired Girl," Chinese Literature 9 (1977), 99-105.

Ho Ching-chih. "How `The White-Haired Girl' Was Written and Produced," Chinese Literature 2 (1953), 110-114.

Li Hsi-fan. "An Artistic Gem Born in the Class Struggle," China Reconstructs 16:9 (September 1967), 39-43.

Ma Ko. "From `Yangko' Opera to `The White-Haired Girl,'" Peking Review 5:21 (25 May 1962), 20-22.

"Modern Revolutionary Ballet `The White Haired Girl,'" China Pictorial 9 (1972), 14-19.

Wilkinson, J. Norman. "The White-Haired Girl: From Yangko to Revolutionary Modern Ballet," Educational Theatre Journal 26 (1974), 164-174.

C. Red Detachment of Women 

China Ballet Troupe, revised Red Detachment of Women--A Modern Revolutionary Ballet. Peking: Foreign Language Press, 1972.

__________. "Red Detachment of Women (May 1970 script)," Chinese Literature 1 (1971), 2-80.

"The Red Detachment of Women," Five Chinese Communist Plays, ed. Martin Ebon (New York: J. Day, 1975), 121-151.

"Red Detachment of Women," China Pictorial 10 (1970) special issue. Worker, Peasant and Soldier Ballet Co. "Red Detachment of Women," Chinese Literature 5 (1969), 3-14.

"Women's Red Detachment," China Reconstructs 11:9 (September 1962), 32-

"The Film `Red Detachment of Women,'" Chinese Literature 9 (1971), 99-111.

Hsueh Ching. "The Birth of the First Ballet with a Modern Revolutionary Theme," Chinese Literature 3 (1967), 9-12.

"A New Road for Chinese Ballet," Chinese Literature 1 (1971), 81-95.

"`Red Detachment of Women': A Revolutionary Ballet," China Reconstructs 14:2 (February 1965), 22-23.

Wu Hsiao-ching. "A Great Victory in `Making Foreign Things Serve China,'" Chinese Literature 5 (1969), 78-86.

Yeh Lin. "The Ballet `The Red Detachment of Women,'" Chinese Literature 12 (1964), 96-104.

A. General Studies

Ahn, Byung-joon. "The Politics of Peking Opera, 1962-1965," Asian Survey 12:12 (1972), 1066-1081.

Chang Hua-min and Arthur C. Miller. Madame Mao: A Profile of Chiang Ch'ing. Hong Kong: Union Research Institute, 1968.

Chao Tsung. Drama Reforms in Mainland China, 1942-1967. Hong Kong: Chinese University Press, 1969.

Cheng, Philip H. "A Comparative Value Analysis: Traditional Versus Revolutionary Opera," Popular Media in China: Shaping New Cultural Patterns, ed. Godwin C. Chu (Honolulu: University of Hawaii Press, 1978), pp. 104-123.

Chu, Godwin C. "Popular Media: A Glimpse of the New Chinese Culture," Popular Media in China, ed. Chu (Honolulu: University of Hawaii Press, 1978), 1-15.

Chu, Godwin C., ed.. Popular Media in China: Shaping New Cultural Patterns. Honolulu: University of Hawaii Press, 1978.

__________ and Philip H. Cheng. "Revolutionary Opera: An Instrument for Cultural Change," Popular Media in China, ed. Godwin C. Chu (Honolulu: University of Hawaii Press, 1978), 73-103.

Delza, Sophia. "From the Classical Chinese Theatre to the Revolutionary Peking Opera," CHINOPERL Papers 7 (1977), 22-48.

Ebon, Martin, ed. Five Chinese Communist Plays. New York: J. Day, 1975.

Fokkema, D.W. "Maoist Ideology and its Exemplification in the New Peking Opera," Current Scene 10:8 (1972), 13-20.

Kuo Han-cheng. "New Developments in the Traditional Chinese Theatre," Chinese Literature 1 (1960), 127-139.

Mackerras, Colin P. Amateur Theatre in China, 1949-1966. Canberra: Australian National University Contemporary China Papers No. 5 (1973).

__________. "Chinese Opera after the Cultural Revolution (1970-1972)," China Quarterly 55 (1973), 478-510.

Meserve, Walter J. and Ruth Meserve, ed. Modern Drama from Communist China New York: New York University Press, 1970.

__________. "Communist China's War Theatre," Journal of Popular Culture 6 (1971), 313-326.

Mitchell, John (ed.). The Red Pear Garden: Three Great Dramas of Revolutionary China. Boston: Godine, 1973.

Mowry, Hua-yüan Li. Yang-pan hsi-New Theater in China. Berkeley: University of California Center for Chinese Studies, Studies in Chinese Communist Terminology, No. 15 (1973).

Snow, Lois Wheeler, China on Stage. New York: Random House, 1973.

Wang Chao-wen. "Some Reflections on Peking Operas with Contemporary Themes," Chinese Literature 11 (1969), 101-109.

B. The Red Lantern

China Peking Opera Troupe. The Red Lantern (May 1970 script; Peking: Foreign Language Press, 1972); rpt. Ebon, pp. 213-260, Snow, pp. 256-303.

__________. "The Red Lantern (May 1970 script)," Chinese Literature 8 (1970), 8-52.

The Red Lantern--A Peking Opera with a Revolutionary Theme. Peking: Foreign Language Press, 1969.

Wong Ou-hung and Ah Chia. "The Red Lantern," Chinese Literature 5 (1965), 3-48; rpt. Meserve and Meserve, pp. 328-268.

China Peking Opera Troupe, The Red Lantern Group. "Struggle for the Creation of Typical Examples of Proletarian Heroes," Chinese Literature 8 (1970), 53-69.

Hung Yu. "Ah Chia on `The Red Lantern,'" Chinese Literature 5 (1965), 98-103.

"On `The Red Lantern'--Comments by Workers and Peoples Liberation Army Men," Chinese Literature 2 (1969), 99-104.

Tung, Constantine. "The Red Lantern: A Study of the Impact of the Cultural Revolution on Drama in China," Modern Drama 15 (1972), 44-53.

C. Taking Tiger Mountain by Strategy

Shanghai Peking Opera Troupe. Taking Tiger Mountain by Strategy. July 1970 script, Peking: Foreign Language Press, 1971.

__________. "Taking Tiger Mountain by Strategy (October 1969 script)," Chinese Literature 1 (1970), 3-57; rpt. Mitchell, pp. 203-285; Snow, pp. 40-98.

Taking the Bandits' Stronghold--A Peking Opera with a Revolutionary Theme. Peking: Foreign Languages Press, 1969.

"Taking the Bandits' Stronghold," Chinese Literature 8 (1967),29-81; rpt. Ebon, pp. 155-210.

Hung Cheng. "To Find Men Truly Great and Noble-Hearted We Must Look Here in the Present," Chinese Literature 1 (1970), 75-86.

Shanghai Peking Opera Troupe. "Drawn from Life, but on a Higher Plane--Some Impressions Regarding the Creation of Proletarian Heroes in the Dance," Chinese Literature 2 (1970), 81-92.

__________. "Strive to Create the Brilliant Images of Proletarian Heroes," Chinese Literature 1 (1970), 58-74; China Reconstructs 2 (1970), 38-44.

To Find Men Truly Great and Noble-Hearted We Must Look Here in the Present Peking: Foreign Languages Press, 1972.

Barmé, Geremie. "`Not Wisely But Too Well'--Othello in Beijing," Chinese Literature 9 (1983), 114-18.

Brooks, Sarah. "Dancing With Confucius," Free China Review 43.8 (1993), 62-72.

_________. "Songs of the Universe," Free China Review 44.3 (1994), 64-73.

Chang, Winnie. "Euripides at the Opera," Free China Review 44.2 (1994), 68-77.

Chen, David Y. "Two Chinese Adaptations of Eugene O'Neill's The Emperor Jones," Modern Drama 9.4 (1967).

Chen Yong. "Going Full Circle: Brecht in Beijing," Beijing Review 28:41 (14 October 1985), 25-26.

Cheng, Jessie. "The Wordplay’s the Thing" [on Taipei Musical Theater Troupe], Free China Review 46:8 (1996), 48-55.

Doran, Valerie. "U-nique Journey," Free China Review 42:2 (February 1992), 64-73.

Howard, Roger. Contemporary Chinese Theatre. Hong Kong: Heinemann Educational Books, 1978.

Hsu, Beatrice. "`The Return of the Butterfly': Ethics vs. Eros," Free China Review 36:7 (July 1986), 2-9.

Huang, Yu-mei. "On the Experimental Stage in Taiwan," Free China Review 32:10 (October 1982), 21-28.

__________. "Wearer of the Mask(s)," Free China Review 34:5 (May 1983), 27-33.

Huang, Zuolin. "Producing Shakespeare in China," Beijing Review 28.27 (8 July 1985), 24-26.

Judd, Ellen R. "Revolutionary Drama and Song in the Jiangxi Soviet," Modern China 9.1 (January, 1983), 127-160.

Li Huailin, Ling Qing. "Pan Jinlian: An Opera of the Absurd," Beijing Review 29:52 (29 December 1986), 28.

Ling Yang. "China Adopts and Adapts Shakespeare," Beijing Review 29.42 (20 October 86), 27-29.

"Madame Butterfly in Peking," China Reconstructs 11.3 (March, 1962), 40.

Miller, Arthur. Salesman in Beijing. New York: Viking, 1983.

"Soviet Opera Adapted in Beijing," Beijing Review 28.38 (23 September 1985), 31.

Tai Yih-jian. "Stanislavsky and Chinese Theatre," Journal of Oriental Studies (HK) 16.1-2 (1978), 49-62.

Tsao Wei-feng. "Shakespeare in China," China Reconstructs 4.7 (July 1955), 8-9.

Tseng Yung-li. "Peking Opera Stages Macbeth," Free China Review 37.3 (March, 1987), 2-5.

Wang, Emily. "A Searing Confrontation Between `Modern ' and `Primitive' Man: Lan Ling's Newest Production," Free China Review 36:2 (February 1986), 2-9.

Waren, Stanley A. "The Kingdom of Desire," (on Beijing Opera Macbeth) Free China Review 37.3 (March, 1987), 6-11.

Weisinger, Kenneth D. "Brecht and Chinese Theater," Tamkang Review 6:2-7:1 (1975-1976), 303-16.

Wu, Emma. "Ancient Tales Revisited," Free China Review 41:7 (July1991), 54-63.

Yuan Henian. "Death of a Salesman in Beijing," Chinese Literature 10 (1983), 103-09.

Zou Ting. "From Anna Christie to An Di," Chinese Literature 2 (Summer 1985), 234-37.