Canterbury Rd
Oxford OX2 6LU
UK
Professor Li Ruru: The Cultural Revolution and Me
Tuesday, May 1, 5-7PM Lecture Theatre, China Centre, St Hugh’s College, Oxford
Open and free of charge for all
Supported by: Oxford Chinese Studies Society
2016 witnessed the 50th anniversary of the Great Proletariat Cultural Revolution. BBC Chinese invited Professor Li Ruru to write about her own life during that time. Having considered the invitation for a long time, Li finally wrote, from a point of view why she decided to teach a module at Leeds: ‘The Post-Cultural Revolution Literature.’ Based on the BBC article, the talk tells stories about her own experience and people’s lives around her. It also attempts to tease out what the Cultural Revolution meant to the young people at that time and what impact it has had on her generation, a large group of teenagers.
The English translation of the article is available at:
Why I teach ‘Post-Cultural Revolution Chinese Literature’ at a British university by Li Ruru, Translated by Thomas Markham
This event will be of interest to those of you who work on Chinese history, Chinese literature, politics, and education. Professor Li’s talk will last around 40 minutes and we will leave plenty of time for critical dialogues, Q & A and discussions.
About the speaker
Li Ruru is Professor of Chinese Theatre Studies in the School of Languages, Cultures and Societies, University of Leeds, UK. She has written extensively on Shakespeare performance in China (including a monograph Shashibiya: Staging Shakespeare in China (2003)) and on Chinese theatre (modern/traditional). Her recent work includes Staging China: New Theatres in the Twenty-First Century (ed. 2016), The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World (2010), Translucent Jade: Li Yuru on Stage and in Life ([in Chinese] 2nd edition 2015), and a photographic exhibition Cao Yu (1910-1996): Pioneer of Modern Chinese Drama (2011-16). Li runs traditional song-dance theatre workshops for both students and theatre professionals because she regards regular contact with the theatre as essential to her academic work.
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