Abstract
This paper aims to analyse the transmission and the reception of the comedies of the French playwright Eugene Labiche in the Republican period (1912–1949), during which the modern Chinese theatre was nourished by the translations of Western plays. Song Chunfang was one of the scholars who promoted with enthusiasm Labiche’s works. To Song, Labiche’s works could be taken as an alternative reference that differed from the “mainstream” Ibsen plays worshiped by his contemporaries. Song Chunfang appreciated the elements of popular theatre observed in Labiche’s works, taking them as models for the modern Chinese theatre. La Poudre aux yeux, a parody of the hypocrisy of the urban middle class, was translated for the first time by Zhao Shaohou. Later, his successful translation inspired several retranslations, adaptations and rewritings, including Cao Yu’s The Gilt. Similarly, Le Voyage de monsieur Perrichon was (re)translated, and it contributed to the adaptation of Shi Huafu, The Peacock Screen. Although the fame of Labiche is often forgotten nowadays by researchers in the Chinese-speaking world, he was indeed one of the most popular and well-known French playwrights in modern China. By reviewing and analysing the translations and adaptations of Labiche’s plays, researchers can retrace in more detail the development of modern Chinese theatre and its quest for modernity.
A part of this paper’s content can bereferred toas Lo Shih-Lung, “The Translation and Transmission of Eugene Labiche’s Comedies on the Modern Chinese Stage” (in Chinese), Tsing Hua Journal of Chinese Literature 16 (Dec. 2016), pp. 207–256.
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Notes
- 1.
Hu Shi , “On the Constructive Literature Revolution” (Jianshe de wenxuegeminglun), La Jeunesse 4. 4 (April 1918). Text collected in Hu Shi, Complete Works of Hu Shi (Hu Shi quanji) 1 (Hefei: Anhui jiaoyuchubanshe, 2003), 52–68.
- 2.
Ouyang Yuqian , “My Opinions on Reforming Chinese Theatre” (Yu zhigailiangxiju guan), La Jeunesse 5. 4 (October 1918): 341.
- 3.
Song Chunfang , “Selection of One Hundred Modern Dramatic Works” (Jinshi mingju baizhong mu), La Jeunesse 5. 4 (October 1918): 361–365.
- 4.
Song Chunfang , Essays on Theatre (Song Chunfang lunju), vol. 1, 3rd ed. (Shanghai: Zhonghuashuju, 1930), 287–310. The second and the third volumes of Song’s Essays were, respectively, published in 1936 (Shanghai: Shenghuo shudian) and 1937 (Shanghai: The Commercial Press).
- 5.
William Somerset Maugham, “XLVIII: A Student of the Drama,” On A Chinese Screen (London: William Heinemann, 1922), 188–192.
- 6.
Song Chunfang, “Improving the Chinese Theatre” (“Xiju galiang pingyi”), in Essays 1, 3rd ed. (Shanghai: Zhonghuashuju, 1930), 261–265; Song Chunfang, “Discussions on the Plays of Chinese New Theatre” (“Zhongguo xinju juben zhi shangque”), in Essays 1, 3rd ed. (Shanghai: Zhonghua shuju, 1930), 267–274.
- 7.
Xu Zhuodai and Bao Tianxiao had translated Scibe’s Adrienne Lecouvreur and published it in 1911. Their Chinese translation was actually adapted from Osada Shuto’s Japanese translation. Another adaptation of Adrienne Lecouvreur was realized by Li Jianwu and was published in 1947. No other plays of Scribe were published in Chinese in the twentieth century.
- 8.
Zhao Shaohou had also mentioned their cooperation in the preface of his translation of Sands Bewildering People’s Eyes (Miyan de shazi) (Shanghai: Xinyueshudian, 1929), 6.
- 9.
Song Chunfang , “Why do I Present Labiche?” (“Wo weishenme yao jieshaoLapixu?”), in Essays 1, 3rd ed. (Shanghai: Zhonghua shuju, 1930), 247–252.
- 10.
Song Chunfang, “Discussions on the Plays of Chinese New Theatre,” op. cit., 267–274.
- 11.
Song Chunfang, “The French Theatre before the Great War,” (“Dazhanyiqian de Faguoxiqu”), in Essays 2 (Shanghai: Shenghuo shudian, 1936), 20–25.
- 12.
Ming Xin, “Short Biographies of French Writers,” Monthly Magazine of Novel 15, special issue “Research on French Literature,” (April 1924): 39–40.
- 13.
Xu Xiacun, “Theatre in the End of Nineteenth Century,” in History of French Literature (Faguowenxueshi) (Beijing: Beixinshuju, 1930), 214.
- 14.
Xu Zhongnian, French Literature ABC (Faguo wenxue ABC) 2 (Shanghai: ABC congshushe, 1933), 80–81.
- 15.
Xia Yande, History of French Literature (Falanxi wenxue shi) (Shanghai: The Commercial Press, 1936), 476.
- 16.
Yuan Changying, “Theatre,” in History of French Literature (Falanxi wenxue shi) (Shanghai: The Commercial Press, 1944), 152–153.
- 17.
Wu Dayuan, History of French Literature (Falanxi wenxue shi) (Shanghai: Shanghai shudian, 1946), 530.
- 18.
Tian Qin, “A Comparative Study of the Translated Plays During the Last Thirty Years” (“Sanshi nian lai xiju fanyi zhi bijiao”), in The Chinese Theatre Movements (Zhongguo xiju yundong) (Shanghai: The Commercial Press, 1946), 107. A former edition was published in Chongqing, in 1944, during the Sino-Japanese War.
- 19.
Represented for the first time on 19 October 1961, in the Gymnase Theatre of Paris.
- 20.
Song Chunfang , “Improving Chinese Theatre” (“Gailiangzhongguoxiju”), in Essays 1, 3rd ed. (Shanghai: Zhonghua shuju, 1930), 275–286.
- 21.
Wang Jianfeng, “New Moon School’s Ideas on the Translation: A Study of the Advertisements of the New Moon Magazine,” (“Cong Xinyue yizhu guanggao kan xinyue pai fanyi sixiang”), Journal of Huaibei Normal University 35.4 (August 2014): 81–84; Wang Jianfeng, “The Sponsorship of the New Moon Bookstore for the Translation of Theatre Works” (“Xinyue shudian dui xiju fanyi huodong de zanzhu”), Journal of Chifeng College (Edition of Chinese Literature, Philosophy, and Social Sciences) 35.10 (October 2014): 39–40.
- 22.
New Moon 4.6–7, 1929.
- 23.
Yan Zhewu, “Towards the ‘Theatricalization of the Public Readings’” (“Zouxiang “minzhongduwuxiquhua” zhilu”), The Monthly Journal of the Public Education of Shandong (Shandong minzhong jiaoyu yuekan) 7. 9, quoted in Zhou Huimei, Public Education Centers and the Evolution of the Chinese Society (Minzhong jiaoyu guan yu zhongguo shehui bianqian) (Taipei: Showwe Publishing, 2013), 375–376.
- 24.
Cao Yu , “Epilogue of Gilt ,” (“Du jin houji”), Little Plays (Xiao Juben) 11 (1981). This article is collected in The Complete Works of Cao Yu (Cao Yu quanji) 5 (Shijiazhuang: Huashanwenyi, 1996), 108–110.
- 25.
Cao Yu, Du jin (Gilt), published for the first time in journal Theatre Times (Xiju shidai) 1 (November 1943): 16–26.
- 26.
Shi Man, Chronicle of the Theatre in Chongqing during the Resistance Against Japan (Chongqing kangzhan jutan jishi) (Beijing: Zhongguo xiju chubanshe, 1995), 24.
- 27.
For example, he could be found in the performances directed by Hong Mo and represented by the Shanghai Dramatic Art Society (Shanghai Juyi she), from June to August of 1941, or in the performances given by the Yanjing Theatre Troupe, in Beijing, in October 1941.
- 28.
Cui Muxue, “Two Reviews of Gilt” (“Jupingliangti: guanyuDu jin”), Knowledge and Life (Zhishiyushenghuo) 1.10 (1941): 230–231.
- 29.
Shen Xie, “Reviews: Gilt and Proposal” (“Yanchuniaokan: Du jin, Qiuhun”), Art of Theatre Stage (Wutai Yishu) 2 (1941): 32–33.
- 30.
Zhangjiakou was a commercial town located near Beijing, through which exotic products were imported to the capital.
- 31.
Zhao Shaohou, Sands Bewildering People’s Eyes (Miyan de shazi) (Shanghai: Xinyueshudian, 1929), 100.
- 32.
Hong Liu, A Pure Evening Feast (Chunjie de yeyan) (Shanghai: Zhengxinshudian, 1940), 87.
- 33.
Yan Zhewu, Sands Bewildering People’s Eyes (Mi yan de shazi), in The Pioneer of Literature and Arts (Wenyixianfeng) 10.1 (January 1947): 49–71.
- 34.
Chinese People’s Political Consultative Conference (Zhongguo renmin zhengzhi xieshang huiyi), als. ed., The Chronicle of the Sino-Japanese War in Chongqing (Chongqing kangzhanjishi) (Chongqing: Chongqing chubanshe, 1985), 353.
- 35.
Yan Zhewu, “Adaptation and Revision” (“Gai yiyu gai zuo”), in Theatre Life (Juchang shenghuo) (Beijing: Zhonghuashuju, 1939), 70.
- 36.
For example, does the play Shengjie de yeyan mean Chunjie de yeyan (translation of Hong Liu)? Is it a mistake of Yan Zhewu, or was there another translation entitled Shengjie de yeyan?
- 37.
Represented for the first time on 10 September 1860, in the Gymnase Theatre of Paris.
- 38.
The Thrice-monthly Magazine of Literature of the Low Grass Society was founded in July 1923 and closed in January 1924. It was published as the supplement of the Daily of the Republic (Minguo Ribao) . Different from the trimonthly magazine Low Grass which was dedicated to their members’ creation, the Thrice-monthly Magazine of Literature had published lots of literary works translated from foreign languages.
- 39.
The New North was founded in January 1931 and closed in October 1931. The translation of Cai Zengjie was published in vol. 2, no. 4, October 1931, pp. 1–20. The third act was not published.
- 40.
The Theatre Magazine was founded in October 1938 and closed in September 1940. The first two acts of Liu’s translation were published in vol. 3, no. 4 and 5, 1939. The third act was only published in the single volume edition of 1940.
- 41.
Yuan Changying, History of French Literature (Faguowenxueshi) (Shanghai: The Commercial Press, 1944), 152.
- 42.
Liu Musen , “To My Old Friend Lu Chen—Preface by the Translator” (“Gei lao huoban Lu Chen—Dai yizhexu”), in The Travel (Lüxing) (Shanghai: Zhongguo tushu zazhi gongsi, 1940), 13.
- 43.
DiaoRujun , The Race Between the Tortoise and the Hare (Gui tu jingzou) (Chongqing: The Commercial Press, November 1945). The original title of the play is indicated in the copyright page, but the author was incorrectly spelled as “LaicheEvgine”.
- 44.
Daniel says to his competitor Armand: “Qui arrivera le premier de nous deux? Nous avons la fable du Lièvre et de la Tortue” (Which one of us will arrive the first? We have the fable of The Tortoise and the Hare).
- 45.
DiaoRujun , The Grammar (Wenfa) , The Pioneer of Literature and Arts 7. 3 (September 1945): 43–60.
- 46.
DiaoRujun, The Small Birds (Xiao niao), The Pioneer of Literature and Arts 8.2–4 (February–April 1946): 50–64 (Act I, issue of February), 35–44 (Act II, issue of March), 48–57 (Act III, issue of April).
- 47.
The only available recording was published by Pathé in 1923.
- 48.
For example, in the 2015–2016 season, Un chapeau de pailled’Italie of Labiche is performed at La Comédie-Française.
References
Cao Yu. 1943, November. Du jin (Gilt), Theatre Times, 16–26.
———. 1981. Epilogue of Gilt (“Du jinhouji”). Little Plays (Xiao Juben), 11.
Hong Liu. 1940. A Pure Evening Feast (Chunjie de yeyan). Shanghai: Zhengxinshudian, 87.
Hu Shi. 2003. Complete Works of Hu Shi (Hu Shi quanji), 1, 52–68 Hefei: Anhui jiaoyuchubanshe.
William Somerset Maugham. 1922. XLVIII: A Student of the Drama. In On a Chinese Screen, 188–192. London: William Heinemann.
Ming Xin. 1924, April. Short Biographies of French Writers. Monthly Magazine of Novel 15, special issue “Research on French Literature,” 39–40.
Ouyang Yuqian. 1918, October. My Opinions on Reforming Chinese Theatre (Yu zhigailiangxiju guan). La Jeunesse 5(4):341.
Represented for the first time. on 19 October 1961, in the Gymnase Theatre of Paris.
Shi Man. 1995. Chronicle of the Theatre in Chongqing During the Resistance Against Japan, 24. Beijing.
Song Chunfang. 1918, October. Selection of One Hundred Modern Dramatic Works (Jinshimijubaizhong mu). La Jeunesse 5(4):361–365.
———. 1930a. Improving Chinese Theatre (Gailiangzhongguoxiju). In Essays 1, 3rd ed., 275–286. Shanghai: Zhonghuashuju.
———. 1930b. Why Do I Present Labiche? 247–252. Shanghai: Zhonghuashuju.
———. 1930c. Essays on Theatre (Song Chunfanglunju). Vol. 1. 3rd ed, 287–310. Shanghai: Zhonghuashuju.
———. 1936. The French Theatre Before the Great War, 20–25. Shanghai: Shenghuoshudian.
Tian Qin. 1946. A Comparative Study of the Translated Plays During the Last Thirty Years (“Sanshinianlaixijufanyizhibijiao”). In The Chinese Theatre Movements (Zhongguoxijuyundong), 107. Shanghai: The Commercial Press. A Former Edition was Published in Chongqing, in 1944, During the Sino-Japanese War.
Wang Jianfeng. 2014, August. New Moon School’s Ideas on the Translation: A Study of the Advertisements of the New Moon Magazine. Journal of Huaibei Normal University 35(4):81–84.
Wu Dayuan. 1946. History of French Literature (Faguowenxueshi), 530. Shanghai: Shanghai Shudian.
Xia Yande. 1936. History of French Literature (Falanxiwenxueshi), 476. Shanghai: The Commercial Press.
Xu Xiacun. 1930. Theatre in the End of Nineteenth Century. In History of French Literature (Faguowenxueshi), 214. Beijing: Beixinshuju.
Xu Zhongnian. 1933. French Literature ABC (Faguowenxue ABC) 2, 80–81. ABC Congshushe: Shanghai.
Yan Zhewu. 1947. Sands Bewildering People’s Eyes (Mi yan de shazi). The Pioneer of Literature and Arts (Wenyixianfeng) 10 (1): 49–71.
———. 2013. Towards the ‘Theatricalization of the Public Readings’. The Monthly Journal of the Public Education of Shandong 7:9, quoted in Zhou Huimei, Public Education Centers and the Evolution of the Chinese Society, 375–376. Taipei: Showwe Publishing.
Yuan Changying. 1944. Theatre. In History of French Literature (Faguowenxueshi), 152–153. Shanghai: The Commercial Press.
Zhao Shaohou. 1929. Sands Bewildering People’s Eyes (Miyan de shazi), 100. Shanghai: Xinyueshudian.
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LO Shih-Lung (2019). The Translation and Reception of Eugene Labiche’s Plays in Modern China. In: Nagata, Y., Chaturvedi, R. (eds) Modernization of Asian Theatres. Springer, Singapore. https://doi.org/10.1007/978-981-13-6046-6_10
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