Seit 2017 organisiert das Konfuzius-Institut Frankfurt jährlich das Studenten-Theaterfestival, bei dem Stücke in chinesischer Sprache aufgeführt und die Interaktion mit der chinesischen Kultur gefördert werden. Dank des großen Interesses ist der Rahmen dieses Events über die Jahre stetig gewachsen, so dass es mittlerweile internationale Ausmaße angenommen hat.
Theatergruppen aus Deutschland, Frankreich, Belgien und China – beim 8. Theaterfestival bringt das Konfuzius-Institut Frankfurt wieder Teilnehmende aus verschiedenen Ländern mit sehr unterschiedlichen Hintergründen zusammen. Sie alle vereint die Liebe zum Theater und zur chinesischen Sprache.
Am Samstag, dem 13. Juli werden die Stücke der verschiedenen Theatergruppen mit einer Mischung aus Live-Auftritten und Video-Beiträgen aufgeführt.
Wann:
13.07.2024, 10:30 – 17:30 Uhr
Wo:
Haus Sindlingen, Sindlinger Bahnstraße 124, 65931 Frankfurt am Main
Sprache: Chinesisch und Englisch
Programme:
10:30 am: Lecture: “Old History, New Drama? Contemporary Historical Plays from China”, by Stefan Christ
Historical subjects have long been a part of traditional Chinese performance art. However, when both the understandings of “history” and “theater” changed radically at the beginning of the twentieth century, a new genre of “historical drama” (历史剧) emerged and repeatedly became the subject of heated political debates. In this lecture, I will briefly introduce the genre and its development in the People’s Republic of China, Then, I will present two contemporary historical dramas to illustrate the possibilities that theater offers for dealing with history in China today. In the 2000s, Xu Ying 徐英 wrote a Spring and Autumn Trilogy, which was staged around 2010 by Lin Zhaohua 林兆华, one of the most influential directors in modern China, and partly also shown in Germany. On the other hand, Li Jing 李静 has become one of the most acclaimed playwrights of our time with her dramas The Great Master (2015), The Comedy of Qin (2017) and Rongyi’s Coat (2021).
Stefan Christ (*1986) has studied sinology and philosophy in Berlin, Hamburg, Beijing, and Nanjing. From 2016 to 2021, he was a research associate at the Chinese Department of Universität Hamburg and wrote his dissertation on the 19th century thinker Wei Yuan, which won the 2022 Karl H. Ditze-Preis für herausragende Dissertationen in den Geisteswissenschaften. He has translated numerous Chinese plays (see: Mittendrin – Neue Theaterstücke aus China, Theater der Zeit 2015) and subtitled performances directed by, among others, Lin Zhaohua, Meng Jinghui, Nick Yu Rongjun, and Tian Gebing. For his translations, he was awarded the Special Book Award of China in 2019. He has also collaborated with the International Research Centre “Interweaving Performance Cultures” at Freie Universität Berlin and contributed substantially to the publications Regiekunst heute – Stimmen und Positionen aus China (Alexander Verlag 2018) and The Routledge Companion to Performance-Related Concepts in Non-European Languages (2024). Currently, he is a postdoctoral researcher at the sinology department of Friedrich-Alexander-Universität Erlangen-Nürnberg and working on a book about contemporary Chinese historical drama.
1:30 – 5:30 pm: Theatre performances (live on-site performances and video recordings)
1. Fu theatre group of Confucius Institute Frankfurt (Germany): When a Woman Decided to Return her Shoes
2. Yangguang theatre group of the Department of Sinology of the University Erlangen–Nuremberg (Germany): TF Girls
3. Centre for Chinese Studies of the University Kiel (Germany): Online Rehearsal
4. Confucius Institute of the University Liège (Belgium): True and False Princess of Tianzhu
5. Aachen Xi Fun theatre group (Germany): Girl in the Box
6. Shanghai Fudan University (China): Love is a Many-Slight Thing
7. Shanghai Theatre Academy (China): Drifting towards the Fields
*Performance order is subject to change on the day of the event
