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The University Theatre presents

The Phoenix Returns to Its Nest (Feng Huan Chao)

a traditional Beij ing opera created by Mei Lanfang and taught to the cast and musicians by three master performers from the China Beij ing Opera Company: Madam Yang Qiuling, Mr. Li Jialin, and Mr. Wan Ruixing

Translated and directed by Elizabeth Wichmann Director and master performers assisted by

Michiko Ueno Orchestra coord inated by Anna Pung Costumes coordinated by Sandra Finney Scenery designed by Richard G. Mason Screens designed and painted by Liu Dan Lighting design and technical direction by Mark Boyd

CAST (in order of appearance):

BANDITS .. . ... . .... ... . . . ..... . . . . Donna Ch ing Dang Ross Gaspar (Feb. 11-17, 20-22)

Lynne Weber (Feb. 23, 24) Kimberly Bevers#

Jillian K. Sakamoto* James Sau Tim Young#

Kyle Kakuno* LIU LUQI , Bandit King of Peach

Blossom Peak ...... .. . . . .. .... . ... . Henry S. Rice# Bennett T. Moffat*

HOUSE MANAGER, Cheng Pu's major-domo . .. . . . . . . ......... . .. . Daniel A. Kel in, II

ATTENDANTS to Cheng Pu . .. . . . . .. . . .. Naomi Tonooka Robert S. Ito

CHENG PU, the retired Vice-Minister of Military Affairs .. ... . . . . . . . .. .. . ... . . . . John Cimics

FIRST CLOWN SERVANT to Zhu Huanran .... . .... . . ..... .. ... Jeanine Leong

(Feb. 11 -15, 17, 2Q-22, 24) Tracey Lee (Feb. 16, 23)

SECOND CLOWN SERVANT to Zhu Huanran . Tracey Lee (Feb. 11-15, 17, 20-22, 24)

Jude Wang (Feb. 16) Susan E. Pertel (Feb. 23)

ZHU HUANRAN, a young relative of the Emperor .... .... . . .... ... . .. . .. . . . . Blair Fell#

Shaun Takao Shimoda*

6

MU JUYI , a young scholar ........... . .... Kyle Kakuno# James Sau Tim Young*

YA TOU, chief maid to Madam Cheng . .... Danielle SoMai YA HUAN, personal maid to the

two Cheng daughters ....... . . .. Jillian K. Sakamoto# Kimberly Bevers*

MADAM CHENG, Cheng Pu's first and principal wife ... . ... . ........ . .... .. .. Anna Pung#

Jude Wang* CHENG XUE'E ("Snow Swan"), Cheng Pu's younger

daughter by his deceased second wife .. Lynne Weber# Michiko Ueno*

CHENG XUEYAN ("Snow Goose"), Cheng Pu's elder daughter by Madam Cheng .... . . . .. Susan E. Pertel#

Pamela Viera* WARRIORS . ... . . ....... . .. . .. .. ... Donna Ching Dang

Ross Gaspar (Feb. 11-17, 20-22) Lynne Weber (Feb. 23, 24)

Kimberly Bevers# Jillian K. Sakamoto*

James Sau Tim Young# Kyle Kakuno*

SEDAN BEARER . .. .. .. .. ... . .. .. . .... . Naomi Tonooka UNCLE ZHOU, the Military Supervisor, a

high-ranking Imperial Eunuch . .... Bennett T. Moffat# Henry S. Rice*

BEST MAN, an elderly attendant to Zhu Huanran ... . ... .... . ... Shaun Takao Shimoda#

Blair Fell (Feb. 12, 13, 15, 20) Ross Gaspar (Feb. 23, 24)

MILITARY SECRETARY, attendant to Hong Gong . . .................. Michael Barckley

ADJUTANT, ch ief attendant to Hong Gong . . . John Marks HONG GONG, the Supreme Commander of the

Imperial Forces of Five Provinces . . . Daniel A. Kelin, II CARRIAGE ATTENDANT .. ... ....... . .... . RobertS. Ito

MUSICIANS: Percussion Ensemble: Conductor, danpigu (single-skin drum), ban (clapper).

and tanggu (hall drum) .. . . . .. .. . Clyde P. Yasuhara# Ralph Forsland*

Daluo (large gong) . ... . . ......... . ..... Ralph Forsland# Clyde P. Yasuhara*

Naobo (cymbals) . . . .. ....... .......... Heidi B .. Hamr:nel Xiaoluo (small gong) . . ....... . . . .... .... Stephanie Chmg

Melodic Ensemble: Conductor, jinghu (the smaller two-string

spike-fiddle) . ... . .. .. ... .... . ...... Richard Loomis Erhu (the larger two-string spike-fiddle) ...... . . Erik Golub Yueqin (moon lute) ....... . .... . . ... . . ..... . . Ellen Hsu#

Susan E. Pertel* Sanxian (three-string lute) ... . . .... . ...... .. Keith Oyan:a Suona (the double-reed wind instrument) .. .. .. Nelson H1u

#-Feb. 11, 14, 16, 17, 21, 22 • -Feb. 12, 13, 15, 20, 23, 24

Sam Schank

7

ACT I Scene 1-The bandit fort on Peach Blossom Peak, early on a

spring morning, ca. 1512. Scene 2- The countryside below Peach Blossom Peak, the same

morning. Scene 3-The Cheng mansion reception hall, that afternoon. Scene 4-0n the road to the Cheng mansion, and in the Cheng

mansion reception hall, several days later. Scene 5- Cheng Xue'e's inner rooms, several days later. Scene 6-The study of the Cheng mansion, later that night. Scene 7-The Cheng mansion reception hall, the next day. Scene 8- 0n the road to the south, the same day. Scene 9-0n the outskirts of Hong Gong's camp, several days

later. Scene 10-The Cheng mansion reception hall, the same day. Scene 11-The Zhu mansion reception hall, later the same day.

Intermission ACT II

Scene 12-Hong Gong's command tent, the same day. Scene 13-The Zhu mansion reception hall, several weeks later. Scene 14-The Cheng mansion reception hall , the same day. Scene 15- Hong Gong's command tent, early on a spring

morning, two years later. Scene 16- 0utside the Zhu mansion, several days previously. Scene 17-Hong Gong's command tent, on the evening

following the spring morning in scene 15.

Director's Notes Beijing Opera and This Play Beijing opera arose in the late 18th and early 19th centuries, growing out of a rich and diverse variety of Chinese theatrical styles and traditions which date back to at least 1000 AD. It is a living art form, still evolving and developing, which encompasses an abundance of theatrical elements- story, acting, dialogue, song, music, dance, pantomime, stylized movement, and, in some plays, acrobatics as well. And these elements, rather than being presented in sequence, are synthesized-for instance, performers gesture and move gracefully while singing, and speeches are punctuated and heightened orchestrally.

The Phoenix Returns to Its Nest was first performed in 1928 by its creator, Master Mei Lanfang, who is widely acclaimed as the foremost Beijing opera performer of the 20th century. Our English version closely adheres to Master Mei's script as published in 1959; only a very few minor cuts and alterations have been made. The play is a romantic comedy, set in the midst of a bandit uprising, which tells the story of a father's efforts to see that his favored younger daughter is given to the man of his choice in marriage. Like romantic comedies the world over, the story hinges on disguises, mistaken identities, and an amused providence which sees to it that "the phoenix returns to its nest"-a Chinese expression meanin~ that "all turns out well in the end."

As with all Beijing operas, the emphasis in this play is not upon what will happen, but upon how it happens-upon the characters' reactions and the performers' expressions of them. In this performer-centered art form, stories are told leisurely, and characters are portrayed lavishly. So sit back, relax, and, we hope, enjoy with us a venture into the traditional art and culture of China.

8

The Staging The play is being authentically staged. The costumes, makeup, headdresses, and stage properties were purchased from the China Beijing Opera Company, and Sandra Finney and the cast and crew have undergone many hours of training to see that all articles of clothing, hairdressing, headgear, and makeup are properly worn and applied. The scenery is very similar to what would be seen in a production of this play in China. Since 1949, Beijing opera in China has been staged within the proscenium arch, using originally designed sets that range from bare stages with painted backdrops to lavish realistic scenery. For traditional plays such as this one, scenery is usually kept to a minimum-a simple but beautiful space with a bit of "centerpiece" stage dressing to indicate interior locales. Richard Mason's silk setting for this production is evocative of the simple and elegant garden pavilions of the Ming dynasty. Liu Dan's "centerpiece" screens are done in styles which could have been found in wealthy homes during the period in which the play is set, and each is designed to appeal to and therefore to represent the principal inhabitant of the room in which it is displayed. Following contemporary Chinese stage practice, the screens, tables, and chairs in this production are rearranged during the action of the play behind a silk scene curtain.

The Acting Beijing opera acting is stylized, and each of the role types has its own type of stylization. Young male and young female characters speak and sing in falsetto voices, and have the most delicate patterns of movement. Older male and older female characters use "natural" voices, with only a few patterns of stylized intonation, and have a more natural, larger style of movement. Older male characters between 30 and 45 years of age wear black beards; those between 45 and 60 wear gray, and those over 60 wear white beards. The painted-face roles also use "natural" voices, but their voices and movements are larger and more heightened than those of older male characters. The costuming and makeup of painted-face characters assist in achieving this effect of enlargement; their shoulders are padded, and their platform boots are exceptionally high. The brilliant colors of painted-face makeup indicate character traits-in this play, Liu Luqi's blues and blacks denote his fierceness, while Uncle Zhou's red face proclaims that he is brave and loyal, with a fine sense of justice. Painted-face characters wear beards colored according to the system for older male characters; however, Uncle Zhou, who is surely well over 30, nonetheless wears no beard since he is a eunuch. Clown characters, both male and female, predominantly use "natural" voices and a fairly natural style of movement. However, at times they parody the falsetto voices and delicate movements of the young male and young female characters. Male clowns wear a patch of white makeup in the center of their faces; female clowns wear makeup which parodies that of the young female characters.

Most of Beijing opera's pantomimic acting convention would probably be self-evident to audiences anywhere in the world . A few, however, are particular to traditional

Chinese culture. Traditional Chinese houses have double doors constructed with a fairly high sill at the bottom; characters in Beijing opera indicate that they are entering or leaving a room by stepping over an imaginary sill at downstage center. Travel over a long distance is indicated by walking in a circle. The presence of a horse is evoked by the use of a horsewhip, and a carriage is portrayed by a set of 2 flags, each painted with a carriage wheel.

The water sleeves-the lengths of white silk attached to the sleeves proper of many of the costumes- are more than simply decorative. They are used conventionally during a scene to signal to the orchestra that a performer is ready to sing, and are dropped and picked up on entrance to indicate that a major character is taking particular care of his or her appearance. Primarily, however, they are used expressively, tossed, fluttered, and thrown in delight, anger, and sadness.

In this production, Beijing opera is being sung as well as spoken in English. Because of the stylized quality of Beijing opera arias sung in Chinese, they are often difficult for Chinese audiences to understand. We have tried to preserve that stylized quality in our English arias, and are therefore following the Chinese practice of projecting the lyrics on both sides of the stage. The Orchestra The Beijing opera orchestra includes two distinct musical ensembles, a percussion ensemble and a melodic ensemble. The percussion ensemble punctuates and further interprets the movement, speech, and song of the stage performers. The melodic ensemble follows, heightens, and elaborates on the melodies sung by the stage performers to express the feelings of the characters they portray. Each character in the play is therefore actually portrayed by a stage performer and the full orchestra, working together-without the orchestra, characterization and expression would be incomplete. This Beijing opera is being presented with a full live orchestra, and its presence gives a vitality to the performances that no orchestral recording can possibly provide. The Training Program This production is the culmination of a four-month Beij ing Opera Resident Training Program held at the University of Hawaii during the fall semester of 1984. During this program, 40 students underwent intensive training in the techniques of Beijing opera movement, singing, speech, and musicianship utilized in the performance of this play. Their teachers were three master performers from the China Beijing Opera Company: Madam Yang Qiuling, a personal disciple of Master Mei Lanfang; Mr. Li Jialin, a renowned performer of painted-face roles as well as a respected Beijing opera director; and Mr. Wan Ruixing, an accomplished Beijing opera musician and composer. The experience of working closely with these master performers has been an exhilarating, expanding, and immensely rewarding one. The cast, musicians, crew, and I are extremely grateful to them, and have grown to care deeply for them. We would like to dedicate these performances to them, and hope that our efforts to capture and convey a part of their vast and rich art meet with their approval.

Elizabeth Wichmann

] !1

Beijing Opera Production Crews

Stage Manager: Patrick M. Kelly Light Crew: P. Brian Gilhooly, Leslie Siegel Stage Crew: Ryan Page, Mary Follmer, Robert Hovden Set Construction: Tom Giza, Kelly Haggerty,

Daniel A. Kelin, II , Patrick M. Kelly, Randall Matsuno, Dawn Oshima, Leslie Siegel and students of Drama 101 and 240

Makeup: Jude Wang Costume Construction: Nancy Huffaker (crew head) ,

Kimberly Grover, Ji Li Jiang, Lisa Komatsu, Melinda Maltby, Patricia Moey, Anna Pung, Maile Yamanaka

Costume Crew: Nancy Huffaker (crew head) , JanDee Abraham, Melinda Maltby, Patricia Moey, Annette Okuda, Lisa Paningsoro, Trudi Vetter, Pamela Viera, Shelley Wong

Women's Hair: Patricia Moey, Anna Pung, Jude Wang Program: Joel Light, Billie Ikeda (IRSC) Photo Documentation: Richard Kim, Malcolm Mekaru,

Harvey Reed Ushers: February 14- Leilehua High School

(National Honor Society) February 15- Kalaheo High School

(Theatre Society) February 16-Farrington High School

(National Honor Society) February 20-Sacred Hearts Academy

(National Honor Society) February 21-Hawaii School for Girls February 22-Waipahu High School

(National Honor Society) February 23- Radford High School

(National Honor Society) February 24-Maryknoll High School

(National Honor Society) Interpreters for the three master performer-teachers:

Chiang Chih-hwa, Jeanne Halpern, Ellen Hsu, Susan E. Pertel , Jude Wang, and Yang Ying-hua

Coordinator of ensemble movement sequences: Donna Ching Dang

Acknowledgements: The Cultural Climate: Lori and Marylei Arizumi, Myra Myatt; The Honolulu Advertiser Don Chapman, Wayne Harada, Jay Hartwell ; The Hawa Herald; Honolulu Magazine: Marilyn Kim; The Honolul1 Star-Bulletin: Pierre Bowman; Ka Leo 0 Hawaii: John Bender, Julia Steele, Jenny Vim; KGMB TV's Hawaiian Moving Company: Don Kozono, Robert Pennybacker; KHET TV's Spectrum: Holly Richards; KSHO TV's Focus 26: Cynthia Yip; Malamalama: Richard Kim, Lynne Terada; Oceanic Cablevision's Community Programming UH MagazinE Joe Calvina, ian Farrell, Talbert Takahama; RSVP: Jodi Belknap, Sandford Mock; and Babette d'Amours, Garret Kam, and Pamela Stuart

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DANCERS TWO BEGINNING • INTERMEDIATE • ADVANCED • POINTE

HAWAII KAI • NUUANU • PEARL HARBOR

14

Donna Dang 839-1282

Kathy Omura 538-1675

Performing company: ISLAND DANCE IMAGES

University Theatre Production Staff

Director of Theatre . . .. .. . .. ......... . .. . Glenn Cannon Director of Dance . .. .. .. .. . ............ .. Phyllis Haskell

Student Assistants . . . .. Erin O'Conner, Mimi Wisnosky Director of Children's Theatre . . . . .. . ... . ... Tamara Hunt

Student Assistant . ... . .. . ... . . ....... . . . . . lnga Park Director of Asian Theatre .. ........ . . . . . James Brandon

Research Assistants ... Bennett Moffat, Therese Moore Susan Pertel

Set Designer . .... .. ... . .... . ... .... .. .. . Richard Mason Costume Designer . . .. ..... .. .. . .. . .. . .. . Sandra Finney Technical Director . .. . ... .. . . .. . . . . ... . . .... . Mark Boyd

Theatre Technician . . .. . ... . . .... . ... ... . Paul Palmore Graduate Assistants .. . .... . ... ... ... Patrick M. Kelly

Daniel A. Kelin , II , Dawn Oshima, Leslie Siegel Student Assistants .... .... Tom Giza, Randall Matsuno

Kelly Haggerty Video Coordinator ... ........... . . ... . Michiko Ueno

Costumer . . ... . ... . . .. ..... . . .. . .. ... . . . Sandra Finney Graduate Assistant . . . . . . . . . . . .. ... .. Nancy Huffaker Student Assistants .. .. ... Kimberly Grover, Ji Li Jiang

Lisa Komatsu, Patricia Moey, Anna Pung Maile Yamanaka

Theatre Manager . . . ... .. . . . . . .. . .. . .. ...... . Takeo Miji Publicity Director ............. . . ... .. ... .. . Joel Light

Publicity Assistants . . . . .. .. . Kim Bevers, John Cimics Therese Moore

House Managers . .. . ... . ... Steven Miller assisted by Jeffrey Fontana

Box Office . . . .. . . . .. . . .. .. . Steven Miller assisted by Takane Bohannan, Jeffrey Fontana, Carolyn lshizaki

Lisa Miram, John Pele, Henry Rice Photographer ........... . . . .. . . .. .. Malcolm Mekaru

Next at the Kennedy Theatre . ..

Spring Dance Concert Ballet and Modern Dance March 14-17

15

Kennedy Theatre Contributors Miriam Hausman ASSOCIATE Mr. and Mrs. Yoshio Hayashi Senator Neil Abercrombie (as of 31 December 1984) Dr. and Mrs. Victor Hay-Roe Nancy Bannick Pat and Bob Herlinger Jean L. Barker Peter J. Herman, Esq. Ellen Boggs

Robert S. Flowers, M.D. Frank V. Hermann Harold L. Child FOUNDERS' CIRCLE Renee Heyum Mr. and Mrs. Luryier Diamond Drs. Collin and Mary Dang Kathy Foley Robert S. Hines Mrs. Charles H. Davis Earle Ernst Prof. Kenneth L. Graham ltsuko lshimoto Barbara F. Earle Sarah Elizabeth Fincke Katharine M. Hartzell Deborah S. Jones Margaret Eldridge T. Carrick Jordan Ron Heller Grace S. Kohatsu Joyce L. Esposito Maurice Sullivan and family Joyce Hook Michael and Atsumi Kolba Walter M. Figueira Jr. A.M. lchijo In memory of Mrs. Frances A. Kit Glover DIRECTOR'S CIRCLE Kamehameha Schools

Langhans Mrs. W. D. Godbold American Business Women's Thespian Troupe 758 Clarence Lee Design & Stan Godes Dorothy A. Kamatani Associates, Inc. Carole Graham

Association Robert and Shirley Kamins

Millicent Lee Wayne and Violet Harada Chinn Ho Foundation

Mrs. George Kinstlinger Mrs. 0. Max Lehmann Dr. Tomas Hernandez

Hawaii Alpha Delta Kappa Jack and Mary Kirkham

In the name of Amos P. Leib Mr. and Mrs. E. Chipman Thomas J. and Sumie F.

Jane Steen Kramer Samuel L. Leiter Higgins

Me Cabe Joan Lee Peggy Young Barrie Moss Mary H. LeMonnier Susan and Charles Hodges

Dan Lichtenthal Carol A. Honda BENEFACTOR James A. Nakamoto Muriel Lidsker Bernhard and Astrid Hormann Mr. and Mrs. James A. Napier Roger Long Mr. and Mrs. Joel L. Irwin

Jesse Cheng Mr. and Mrs. Satoshi Nekota Esther M. Marks Mildred Jensen

Finance Factors Jean E. Rolles Waunda Marzolf Edward Kaneshige

Madam Yang Qiuling Robert A. Soller Richard G. Mason Elizabeth Lee

Betty Ching Wo Mr. and Mrs. Richard J. Warye Sherry Topp Matias Mrs. Maxwell C. Le Vine Mr. and Mrs. J . S. Yamada Lester J. N. Mau Sara Edlin Marlowe

BACKER Mr. and Mrs. Hong Yip Young Mr. and Mrs. Shigeto Minami Hedy and Ted Marmorstein Mrs. Albert M. Felix Karen Mitura Eunice McCain Rowena K. Keaka MEMBER Thomas D. Murphy Lois T. McCartney Edward A. Langhans Mr. and Mrs. George Akita Lloyd and Roma Murray Terza Meller Oceanic Cablevision Stanford and Winifred Au Dr. and Mrs. T. C. Owens Mr. and Mrs. Arthur Murakami John and Lorraine Stringfellow Molly M. H. Au Yuen Mr. and Mrs. Robert E. L. Lyle E. Nelson Mr. Robert J. Baer

Parker Mr. and Mrs. Francis A. Okano CONTRIBUTOR Mary Thomas Bell Billie and Gregg Perry Teviot Fairservis and Eric Mr. E. E. Black, Sr. Junko Sakaba Berberich Jeffry and Sandi Portnoy Pourchot Chuck Bright Penny Bergman David M. Reed Harriet Ray Mrs. T. N. Fairbanks, Jr. Belle Bernatowicz Freda Wermel Reeser Aiko Reinecke Mr. and Mrs. Thomas H. James C. Bertino Fred H. Roster Mrs. H. F. W. Saunders Fujimura Mr. and Mrs. Jose Blankleder Ward Russell Margaret A. Shade A. Goldstein Mr. and Mrs. Charles S. Edward Sakamoto Yvonne Singer Dr. and Mrs. Wayne S. Hansen Bouslog Yasuo Sato (Yasuki Sasa) M. Thaker Kamehameha Schools Theatre lrva Brubacher Alice and Paul Scheuer Dr. and Mrs. John B. Arts Bob Campbell Mr. and Mrs. Emil Schneider Thompson Harold U. Kim Mabel M. H. Chang Susan and Glenn Shea Floyd Uchima Randall Duk Kim Mr. and Mrs. George Chaplin James Y. Shigeta Gladys T. Uemoto Margaret and Sheridan Morley Marvin E. Y. Char Timothy Roy Slaughter Debra Van Hoosen Aldyth and Ray Morris K. K. Charan Barbara B. Smith Lois S. Wolfe James A. Mulkern Mr. and Mrs. A. Grove Day Robert W. Sparks David and Christel Yount Paul C. Phillips and LeAnn Edgardo De La Cruz Ann Takahashi Cragun Mr. and Mrs. George W. D. J. F. Takamine Kenneth A. Rohde Crowl Jeanette Tanaka Joel Trapido Joe and Mary Ann Dacey Kathryn Tancayo Richard A. Via Mr. and Mrs. Edward J. Doty Monica Tognetti James Otto Ward Mr. and Mrs. Edward Eu Rex A. and Beryl Wade Jessie Wheelwright Mr. and Mrs. David W. Eyre Mr. and Mrs. G. Herbert Daniel S. P. Yang Mr. and Mrs. Nathan iel Felzer Walther Thelma Zen James and Barbara George and Taeko Wellington Furstenberg Cheryl L Willoughby SUSTAINING L. A. A. Gaspar Lily Sun Wong Dr. Ann B. Catts Mr. and Mrs. Donald W. Y. Goo Theresa Wong Myron Robert Chevlin Mr. and Mrs. J . A. Gossett Norman J. Wright Myrtle Ching Byrd Green Mr. and Mrs. Roy T. Yamaki Nancy Corbett Father Brian J. Grieves Thelma H. C. Yim Lynn C. Daic Patricia L. Hartwell Hyacinth Y. L. Young Wayne A. De Mello Phyllis Anne Haskell Mr. and Mrs. Herbert Zukerkorn

16 17

Department of Drama and Theatre

Faculty: Edward Langhans, Chairman, Theatre History, Research Mark Boyd, Technical Theatre James Brandon, Asian Theatre Glenn Cannon, Acting, Directing Dennis Carroll , Film, Playwriting, Theory Bernard Dukore, Dramatic Literature, Theory (on leave)

Sandra Finney, Costume Peggy Gaither, Modern Dance Phyllis Haskel l, Dance Composition, Modern Dance Tamara Hunt, Creative Drama, Puppetry,

Theatre for Children Terence Knapp, Acting, Directing, Voice Roger Long, Asian Theatre (on leave) Richard G. Mason, Design Yasuki Sasa, Ballet Elizabeth Wichmann, Asian Theatre

Staff: Takeo Miji, Theatre Management Paul Palmore, Technical Theatre Terri Roberts, Stenographer Nancy Takei , Secretary

Franchon Luke, Student Assistant

Graduate Assistants: Yukihiro Goto (Acting), Nancy Huffaker (Costume), Patrick M. Kelly (Technical), Joel Light (Publicity), Olava Menczkowski (Modern Dance), Therese Moore (Asian Research), Dawn Oshima (Technical), Linda Parker (Ballet), Susan Pertel (Asian Research), Leslie Siegel (Technical), Michiko Ueno (Audio Visual)

Lecturers: Caren Carino (Modern Dance), Paul Cravath (Intra to Theatre), Donna Dang (Ballet), Barbara Fi tzSimmons (Acting), David Gere (Music History), Harriet Glass (Intra to Dance) Jacqueline Kellet (Crea tive Movement), Joyce Maltby (Acting), Kathy Omura (Ballet) , Carolyn Tani (Modern Dance)

For academic information on the Dept. of Drama and Theatre and Dance call 948-7677.

"An articulate, exceptionally researched study ... " CHOICE M arch , 1984

CHINESE THEATER From Its Origins to the Present Day Colin Mackerras~ editor

The first concise introduction to the rich, splendid variety of the Chinese theatrical tradition, this volume presents a rounded perspective by leading authorities of the development of Chinese theater and considers all of its major aspects- history and social context, perfor-mance, costume, makeup, actors, playwrights, and theaters . The scope of this important work covers all the major forms of Chinese theater, including the Beijing opera, which arose in the eighteenth century, and the spoken play, an entirely twentieth-century form .

$19.95, cloth

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