Part of
Opera in Translation: Unity and diversityEdited by Adriana Şerban and Kelly Kar Yue Chan
[Benjamins Translation Library 153] 2020
► pp. 75–94
Edited by Adriana Şerban and Kelly Kar Yue Chan
[Benjamins Translation Library 153] 2020
► pp. 75–94
When Mei Lanfang encountered Fei Mu
Adaptation as intersemiotic translation in early Chinese opera film
This chapter examines the intersemiotic translation of Chinese opera for cinema, between stage and screen. It examines the collaboration of Fei Mu and Mei Lanfang in producing China’s first color movie, an opera film, A Wedding in the Dream (1948). The two artists attempted to expand the expressive borders of stage and screen to forge a cultural identity of Chinese cinema. But the intermedia venture presented issues in adaptation, cinematization, and translation. How does opera film reconcile the realistic tradition of cinema with the figurative nature of Chinese theater? The study looks at the intermediality of adaptation as a practice of intersemiotic translation, focusing on how the symbolism of Chinese theater can be translated into cinematic form.
Keywords: Chinese theater, Fei Mu, May Fourth, Mei Lanfang, Bejing opera, opera film, intermediality, intersemiotic translation, realism, screen adaptation
Article outline
- 1.Introduction
- 2.Mei Lanfang: Transmission of operatic heritage
- 3.Fei Mu: Restoring the operatic stage in cinematic reproduction
- 4.Coda
-
Notes -
References
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Cited by
Cited by 1 other publications
Ng, Kenny K. K.
2020. Remaking China: The Canonization of Fei Mu’s Cinema. In Chinese Culture in the 21st Century and its Global Dimensions [Chinese Culture, 2], ► pp. 63 ff. 
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