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Кандидат филологических наук, доцент,
кафедры романо-германской филологии ФилФ ТГУ
М.В.Дубенко
3
TO THE STUDENTS
Dear student!
We hope this book will help you to learn more about art and culture of three countries:
China, Japan and Korea. You will get acquainted with the history of literature, national
music and musical instruments, famous composers, writers and film directors.
The book is divided into 3 parts. Each part is devoted to one country and contains
three paragraphs: Theatre and cinema; Music and musical instruments; Literature.
Each paragraph opens with a few questions or some pictures which help you to
start thinking about the theme you will be studying.
Reading will improve your reading skills.
The Vocabulary sections will help you to enlarge and enrich your vocabulary.
These sections introduce and practice many words and expressions.
Translating and writing sections also contain a lot of factual information.
We very hope you will enjoy using INSIGHTS INTO CULTURE OF CHINA,
JAPAN AND KOREA.
4
PART I CHINA
UNIT 1
THEATRE AND CINEMA OF CHINA
LEAD-IN
The theatre is a spiritual and social X-ray of its time. (Stella Adler, an
American actress and an acclaimed acting teacher)
All the best performers bring to their role something more, something
different than what the author put on paper. That's what makes theatre
live. That's why it persists. (Stephen Sondheim, an American composer
and lyricist)
Have you ever seen Chinese films? Who starred in them and
what were they about?
What world-famous Chinese actors and actresses do you know?
5
READING
3 Read the text and choose from the list A – F the sentence which
best fits each gap (1 – 5). There is one extra paragraph which you do not
need to use.
In a giant country like China with its cultural continuity of several Mil-
lennia, there have understandably been and still are countless different forms
of the performing arts. Many of the basic elements of Chinese theatre, i.e.
poetry, music, dance, and martial
arts, are known to have flourished already during the first Millennium
BC. By approximately 1000 AD these early genres intermingled with each
other and evolved towards a sung theatre form with fixed role categories. (1)
_____. So in the West it is usually called Chinese “opera”.
It is known that during the Shang dynasty (1766–1066 BC) hunting
dances as well as dances imitating animals were performed. As has been al-
ready discussed on several occasions, the dances imitating animals and em-
ploying the so-called “animal movements” have been common in most cul-
tures. The so-called chorus dances were popular during the Zhou dynasty
(1066–221 BC). (2) ______. Besides religious rituals, there were less cere-
monial types of performances, such as comic numbers performed by clowns
and dwarfs as well as displays of acrobatic skills.
6
(3) ______. A division into two major cultural regions, the northern and
the southern, occurred around 1000 AD, which led to a kind of competition
between the northern and the southern operatic styles. It was the southern
kunqu or Kun Opera (K’un-ch’ü) which regained the status of a “national”
style among the educated elite during the 16th and 17th centuries. The status
was inherited in the middle of the Qing dynasty (Ch’ing) (1644–1911) by a
new, more popular form of opera, the Peking Opera.
In the early centuries AD play scripts were written. (4) ______ These ar-
chaic “dramas” heralded the rich tradition of Chinese drama literature with its
heydays in the Yuan (Yüan) dynasty (1279–1368) and the Ming dynasty
(1368–1644).
The western impact started to be felt in theatrical life in the Republic of
China (1912–1949). During the early periods of the People’s Republic tradi-
tional opera was still performed, although the emphasis was on its didactic
use and propaganda value. During the Cultural Revolution (1966–1976) all
traditional arts were banned and a new form of theatre was created and
propagated by the Communist Party. It was the Revolutionary Model Opera.
(5) ______.
5 Read the text about the history of Peking Opera and decide if the
sentences are true or false. Correct those sentences which are false.
1. Kunqu Opera having been prominent in the capital for the past two
decades was replaced by the Ching Hsi.
2. In the process of constructing the new Peking Opera Anui style in-
herited a lot from the former “national style”.
3. Peking Opera used to lay stress on historical and military plays and
was quite patriotic.
4. Different regional styles share the same plots, though endings can
vary and additional characters be introduced.
5. The performances rely upon symbolic presentation, in which illu-
sions are created by non-realistic acting rather than by stage sets.
6. Since the beginning of the 1930th women have been allowed to per-
form in the opera.
7. Actors typically perform in any role within one category.
8. Exaggerated designs are painted on each performer's face to sym-
bolise a character's personality, role, and fate.
9. A lot of famous Chinese actors and actresses started their career on
the stage of Peking Opera.
7
10. In some feature films the Chinese Opera is presented as a signifi-
cant part of the plot.
Four theatre companies from Anhui arrived in Beijing, and their fresh
styles of music and theatre electrified the capital and eventually came to re-
place the Kunqu Opera style that had been pre-eminent in the capital for the
past two hundred years. Characteristics from other forms of opera, such as
Hopeh, Wuhan, and Shansi, were incorporated into the Anhui style. After a
while this form of opera became known as Ching Hsi, or 'Capital Play.' Ching
Hsi is what we know today as Peking Opera. Because of its long history,
Peking Opera encompasses a wide variety of drama, and a wide variety of
styles of acting. It emphasizes historical and military plays and can be quite
patriotic, and so quite popular.
Although there are many different regional styles, they all share many
similarities. Each has the same four role types: the female, the male, the
painted-face, and the clown. Performances consist of singing, poetry, music,
dance, and gesture. Emphasis is on costume and makeup rather than props or
scenery. The operas often tell the same stories, though with various regional
differences, such as alternate endings or additional characters.
Chinese opera has many strong female roles, though for most of its his-
tory, no females to play them. Women in China, especially of the upper class,
had to observe very reserved and controlled conduct, and for the most part
confined themselves indoors. Instead, men would play the female roles. At
certain times in opera history, these female impersonators were the greatest
stars of the stage. Beginning in the 1930s, it became acceptable for women to
perform in the opera.
Sheng:
There are three main male roles that an actor trains for. The first is Lao
Sheng, a middle-aged or old man, dignified and refined. They may be high
8
level scholors or officials, and wear a black hat with fins on either side to de-
note rank, or a general in a military play, wearing armour. In either case he
wears a beard (black or grey, depending on age). The second type of role is
Hsiao Sheng, or young man. The Hsiao Sheng sings in a warbling voice to in-
dicate adolescence, and does not wear a beard. The third type of role is Wu
Sheng, or acrobat, who performs much of the most exciting elements of Chi-
nese Opera.
Dan:
There are twice as many female role types as there are male. They are
divided according to character, status, and age. Lao Dan is the old woman
role. The costume is subdued, no make-up is worn, and the singing voice is
natural and therefore lower than that for the other Dan roles. Wu Dan is the
female acrobat, and is equivalent to the Wu Sheng role for the men. A Qing
Yi actress is the noblewoman, of good quality and character. She is the model
or ideal of the Chinese woman, faithful, proper, shy, and graceful…
Jing:
The Painted Face role is the most recognizable part of Chinese Opera.
This part is reserved for high-ranking army generals or bandits, warriors or
officials. All Jing characters have their faces painted elaborately, the colors
on the face indicating the personality and temperament of the character. A
white face means treachery, black means uprightness, red indicates courage
and virtue, blue denotes cruelty or wild temperament. A mix of multiple col-
ors indicates a more complicated personality.
Chou:
The clown is the only role that can break the 'fourth wall,' so to speak,
and reference current or local events and speak in colloquialisms. Male
clowns are easily recognizable because they all wear a distinctive white patch
of make-up around the nose and eyes. This same make-up is sometimes used
for mean-spirited villains as well. Female clowns do not have the white
make-up patch but instead have a reddened face with black eyebrows.
Costumes and Props
On the Chinese Opera stage, scenery and props are sparse. Often, only a
table and chairs are set on the stage and to signify various thrones, moun-
tains, and so on throughout the story. A character committing suicide by
jumping down a well may in performance simply be stepping
9
off a chair and walking off
stage. In Chinese Opera, it is the ac-
tor that must convey the story,
through voice, movement, and ges-
tures. Each character, furthermore,
wears a distinctive and traditional
costume and makeup which cues
the audience about their status, and
sometimes, about their personality.
10
6 Match the portraits with the character types of the Peking Opera.
1 2 3
2
4 5 6
7 8
11
VOCABULARY
1. The director got very angry when the actor failed to turn up to___ .
2. The _____ for this film was written by a famous novelist.
3. The _____ applauded at the end of the performance.
4. Everyone in the _____ was very good apart from the leading lady.
5. The _____ of the film includes great songs.
6. The whole play was performed in seventeenth century _____.
7. The story was ______ in nineteenth-century France.
8. The play got really fantastic _____ from the critics.
9. He has already ______ several award-winning films.
10. His Othello was one of the worst _____ of his career. It was awful.
9 Read the first part of the text about Chinese Shadow Theatre be-
low and look carefully at each line. If a line is correct, put a tick by it. If
it has a word which should not be there, write this word at the end of the
line.
12
screen. Their reflections on the screen are colourful and their 17 _
finer details are chiselled in the leather as if a kind of filigree 18 _
ornamentation.
10 Read the second part of the text about Chinese Shadow Theatre
and fill in the word which fits best.
The execution (1) _____ the puppet’s faces (which are usually shown
(2) _____ profile) is normally most delicate. They follow the conventions of
opera make-up. Thus the faces of beautiful ladies and handsome scholars are
usually cut so (3) _____ only a narrow outline of the face is (4) _____ from
the leather to reflect the shape of their faces on the screen.
The puppets also (5) _____ many fantasy figures and animals. Just as on
the opera stage, so also in the shadow theatre (6) _____ are props, cut of
leather, such as chairs, tables, bushes, etc. Special effects were created (7)
_____ pieces of coloured glass or mirrors. With a piece of red glass the spurt-
ing (8) _____ of a brave warrior can be projected while the cool moon (9)
_____ its rays can be projected onto the screen (10) _____ a metal cylinder.
11 Read the third part of the text about Shadow Theatre and cross
out the incorrect word in the text.
13
12 Use the word given in capitals at the end of each line to form a
word that fits in the space in the same line.
TRANSLATION
14
байси, или «сто игр» (Baixi или “A Hundred Entertainments”) с
вкраплениями поэтических текстов.
3. Показ картинок, спрятанных в ящик, был распространенным
уличным развлечением в Китае. Внутри ящика картинки передвигались
с помощью веревочного приспособления. Иногда картинки изготавлива-
лись самими уличными актерами, но чаще покупали дешевые напеча-
танные. Картины всегда были раскрашены.
4. Своим происхождением театр теней, по легенде, обязан импера-
торскому горю. В незапамятные времена, когда у императора Хань Уди
умерла жена, он так опечалился, что на время оставил даже управление
государством. Тогда-то, подсмотрев, как тенями играют дети на улице,
его сановник изобрел театр теней. Самое первое представление изобра-
жало жену императора. Увидев как будто ожившую тень любимой жены,
император был немного утешен.
5. Сначала кукла вырезается из бумаги. Бумага тонкая, потому
кукла получается хрупкой, и ей необходимо придать прочность. Для это-
го из дубленой бараньей, лошадиной или ослиной кожи вырезается точ-
но такая же фигурка, которую скрепляют с первой, бумажной.
6. В эпоху Сун были известны "плавающие куклы", потомки меха-
нических кукол древности. По традиции представления водяных кукол
устраивались в специальных лодках-балаганах, но управлялись они ку-
кловодами. Наряду с сюжетными пьесами в программу этих представле-
ний входили цирковые номера, разные фантастические сценки, вроде
"превращения рыбы в дракона".
7. В наши дни с появлением новых видов развлечений театру те-
ней, как и многим другим видам традиционного народного искусства,
угрожает исчезновение. В Китае уже говорят о необходимости внести
заявку на включение театра теней в Реестр объектов мирового наследия
ЮНЕСКО во избежание исчезновения этого вида восточного искусства.
8. Пекинская опера называется «оперой Востока». Она является
драгоценным национальным наследием Китая и называется так потому,
что как самостоятельный театральный жанр она родилась и сформиро-
валась в Пекине.
9. В Пекинской опере для мужских ролей установлен определен-
ный грим. Сочетая реалистичность и символичность, исходя из ду-
шевного состояния, моральных качеств, мыслей и чувств, а также внеш-
ности, возраста и гражданского состояния героя, гримеры-художники
обобщают все это в наиболее типичных чертах облика и характера и в
соответствии с этим создают различные образцы грима, давая характе-
ристику персонажа так же с помощью цвета. Обычно красный цвет в
гриме — это цвет верности и честности, черный — прямоты и смелости,
15
синий и зеленый — храбрости и решительности, желтый и матово-
белый — жестокости и хитрости; золотой же и серебристый цвета
используют для мифических героев.
10. В 2006 году на пекинских сценах состоялись премьеры более 40
пьес, большинство из которых рассказывает о реальной жизни простых
китайцев, затрагивая важнейшие проблемы китайского общества. Неко-
торые режиссёры пошли по пути соединения традиционных элементов с
современными, и их сразу стали называть авангардными режиссёрами.
16
In the non-naturalistic, symbolic acting style of the Chinese theatre,
many things can be told or illustrated by these supporting skills. A good ex-
ample is the riding whip skills. Riding a horse is indicated by a riding whip
the actor holds in his hand. The colour of the whip indicates the horse’s
colour, and the horse’s movements, such as galloping, running for a long
time, the horse’s tiredness etc., are indicated by the movements of the whip
combined with the actor’s other body movements.
Peking Opera professionals divide the acting skills into three realms.
“Being accurate” indicates a correct combination of the skills, while the sec-
ond realm, “being beautiful”, focuses not only on the technical execution, but
on the interpretation’s aesthetic values and the accuracy of the portrayal of
the character. The highest of the three realms, “having a lingering charm”, is
more difficult to put in words since the highest quality of artistic performance
often seems to avoid exact definitions. For example, the singing of a certain
star actor has been described as “being gentle as weeping and lingering as a
thread”.
http://www.xip.fi/atd/china/theatre-of-the-capital-or-the-peking-opera.html
WRITING
17
Peking Opera, also known as Jingju, is a form of traditional Chinese the-
atre which combines music, vocal performance, mime, dance and acrobatics.
Jackie Chan, who transformed himself from a Chinese film star into a Holly-
wood action comedy legend, trained at a Peking Opera school. He learnt
skills in martial arts, acrobatics and tumbling, music and dance.
Fu Xiru, who plays Zi Dan, the Hamlet part, at Edinburgh's Festival
Theatre, said the training for Peking Opera started at a very young age. Mr
Fu, who is now 30, began learning the complex rules and its rigorous training
when he was 10. He learned all the traditional skills including martial arts.
Mr Fu said: "It is very dangerous. Almost every actor who does the martial
arts has some kind of pain or injury in their body. In the ending of this show
Hamlet needs to fight the brother of Ophelia. At this part, the martial arts is
of great importance."
The sets in Peking Opera are virtually non-existent so that all focus is on
the performers, who are judged on the purity of their vocal performance and
the aesthetic beauty of their movements. Mr Fu also highlighted the impor-
tance of the elaborate costumes which the actors wear to convey emotion and
movement.
The show's producer Sun Chung Liang said public interest in Peking
Opera had revived after a fallow period in recent decades. "Peking Opera has
already experienced the glorious era - the peak - and now its development is
something like a wave," he said. "To be honest, today this traditional art is
not as popular as before. However, during the recent years things turned bet-
ter. More and more people are trying to save this traditional art and protect
it."
Shanghai Peking Opera Troupe artists have been going into colleges and
universities to attract new interest. For Mr Sun the most difficult period has
been overcome. "Things will get better and better," he said.
http://www.bbc.co.uk/news/uk-scotland-14572524
18
UNIT 2
MUSIC OF CHINA.
TRADITIONAL MUSICAL INSTRUMENTS
LEAD-IN
1. Do you enjoy listening to Russian folk music? Why? What are your
favourite pieces of folk music?
2. Have you ever heard Chinese folk music? Can you compare and
contrast Russian and Chinese folk music?
3. Look at the pictures above, compare and contrast them, say what is
common and different in them and which of the concerts you would like to
attend and why.
4. Do you play any musical instruments? Did you take music lessons?
If yes, for how long?
5. Do you know any Chinese musical instruments? Are they similar to
any Russian musical instruments?
READING
1 Read the text about the history of Chinese music and make up a
suitable heading for each of the paragraphs (1 – 6). After reading the
text, answer the questions.
1
Chinese music has been known historically since the dawn of Chinese
civilization, with documents and artifacts providing evidence of a well-devel-
oped musical culture as early as the Zhou Dynasty (1122 BC – 256 BC). The
origins of Chinese music can be dated back to distant antiquity. Chinese writ-
19
ings claim that in 2697 BC the emperor Huangdi sent a scholar, Ling Lun, to
the western mountain area to cut bamboo pipes that could emit sounds match-
ing the call of the fenghuang, an immortal bird whose rare appearance sig-
naled harmony in the reign of a new emperor. By imitating the sound of the
bird, Huangdi made possible the creation of music properly pitched to harmo-
nize his rulership with the universe. The "Yellow Emperor" is said to have or-
dered the casting of bells in tune with those flutes.
2
At that time complete musical theory and sophisticated musical instru-
ments began to appear in China, owing largely to the orthodox ritual music
advocated by Confucius. He conceived of music in the highest sense as a
means of calming the passions and of dispelling unrest and lust, rather than as
a form of amusement.
3
By the Han Dynasty (206 B.C. - 220 A.D.), the imperial court had set up
the Imperial Music Bureau which was in charge of gathering and editing an-
cient tunes and folk songs. Because of commercial contacts China had with
Central Asia, foreign music entered the country in the form, for example, of
the Pipa, or lute, and the hu-qin, a vertically held violin. Composers of this
time modified and improved Chinese music because the foreign originating
music influenced them to do so.
4
By the time of the Tang Dynasty (713 - 755 A.D.) the court organised
the Pear Garden Academy song and dance troupe which cultivated a large
number of musicians, this then laid a firm foundation for Chinese music. Tra-
ditionally the Chinese have believed that sound influences the harmony of the
universe. Until quite recently the Chinese theoretically opposed music per-
formed solely for entertainment, accordingly, musical entertainers were rele-
gated to an extremely low social status.
5
Melody and tone color are prominent expressive features of Chinese
music, and great emphasis is given to the proper articulation and inflection of
each musical tone. Most Chinese music is based on the five-tone, or penta-
tonic, scale, but the seven-tone, or heptatonic, scale, is also used, often as an
expansion of a basically pentatonic core.
6
During the first half of the 20th century Chinese music was considerably
influenced by the music of the West. Three major schools of thought arose in
response to this influence. The first school aimed at reviving the old thou-
sand-piece orchestras that once delighted ancient princes and sages and re-
sisted the influence of Western music. The second school concerned itself al-
most exclusively with Western music. The last school of Chinese music took
20
great pride in traditional Chinese musical culture but did not hesitate to apply
it to Western techniques of composition and performance.
Today, the music continues a rich traditional heritage in one aspect,
while emerging into a more contemporary form at the same time.
1.To what dynasty does the first evidence of Chinese musical culture refer?
2.What sounds did the first musical instrument imitate?
3.What was the music aimed at in the time of Confucius?
4.What were the main responsibilities of the Imperial Music Bureau?
5.The Pear Garden was the first known royal acting and musical academy in
China, wasn’t it?
6.What scales is Chinese music based on?
7.What influence on the Chinese music did the Western trends have in the 20 th
century?
21
1 2 3
4 5 6
22
red sandal. The four strings are steel wires. The frets, increased from 7 to as
many as 24, are arranged in half step intervals. The sound of Liuqin is a little
like mandolin, high pitched, bright and it can produce an exciting and agitat-
ing tune when played loudly, and a sweet and touching tune when played
softly.
23
The guqin is the modern name for a plucked seven-string Chinese musi-
cal instrument of the zither family. It has been played since ancient times, and
has traditionally been favored by scholars and literati as an instrument of
great subtlety and refinement, as highlighted by the quote "a gentleman does
not part with his qin or se without good reason," as well as being associated
with the ancient Chinese philosopher Confucius. It is sometimes referred to
by the Chinese as "the father of Chinese music" or "the instrument of the
sages".
BOWED STRING INSTRUMENTS
Bowed-stringed instruments became popular in China during the Sung
Dynasty (960 to 1279 AD). The instruments are played using a bow made of
horse hair to vibrate the strings. They generally have a soft, elegant tone,
which is often used to produce a feeling of weeping or complaining.
1 2
24
BLOWN-WOODWIND INSTRUMENTS
Blown-woodwind instruments produce sound by blowing to vibrate the
tube and reeds of the instruments. The tone produced depends on the strength
of the wind. Different strengths can produce pitches that differ by a perfect
fifth or an octave.
Suona (Trumpet)
Suona, a very expressive reed instru-
ment with a conical metal bell, is very
popular in China's vast countryside in fu-
neral, wedding, and other celebrative occa- 2
sions. Meanwhile, it is also an indispensable
part of a number of local operas. Suona,
with a strong rustic and grass-roots flavor
nowadays, was also an imported instrument
as early as in the Jin dynasty (265-420). As
a result of its high-pitched timbre, Suona is
good at depicting the joyous, noisy, and
magnificent scene.
25
performance and ensembles. Nowadays the
most common type has 17 pipes and the
improved one for the contemporary com- 4
positions has 21-37 pipes, with keys and a
metal resonating pot for the pipes to insert.
PERCUSSION
The history of percussion instruments in China is longer than any other
category of traditional instruments. The character of 'drum' was first found in
the inscriptions on bones and tortoise shells of the Shang Dynasty. At that
time (BC 1562 - 1066) more than 50% of instruments were percussion.
The percussion section is the most important section in Chinese opera,
particularly in "martial" scenes known as wu-chang. The player of the bangu
directs the rest of the orchestra through his different methods and positions of
striking his instrument. He has control over the overall development of the
action and creation of atmosphere, and is equivalent to the conductor of a
western style orchestra.
26
1 2 3
4 5
Luo (Gong)
Chinese gongs are made of high-tin bronze, hammered into a sifter
shape. Its central resonating area can be either flat or convex. At least its long
history can be traced back to the early Western Han period (206BC-AD 24)
according to an archaeological find from a tomb of that period. Modern vari-
eties are great in number with varying tone qualities. The largest type (over
120cm in diameter) called Dachaoluo, with the name from its deep and grave
tone, is used in weddings, funerals and temple ceremonies. The smallest luo
27
(dog-call gong), only 8cm in diameter, can often be seen in theatre instrumen-
tal ensembles.
VOCABULARY
28
1 to pluck a a small thin device (of metal or plastic or ivory)
the strings used to pluck a stringed instrument
2 fingerboard b improving or perfecting 2 R
3 resonator c a narrow strip of wood on the neck of some e
stringed instruments where the strings are held a
against the wood with the fingers d
4 reed d articulate in a very careful and rhythmic way
5 percussion e pull lightly but sharply t
6 pick f anything which resounds h
7 fine tuning g a vibrator consisting of a thin strip of stiff material e
that vibrates to produce a tone when air streams
over it"the clarinetist fitted a new reed onto his t
mouthpiece" e
8 beater h a stroke with a curved piece of wood with taut x
horsehair strands that is used in playing stringed t
instruments
9 chant i a musical instrument in which the sound is a
produced by one object striking another n
10 bow j drumstick d
There is a saying that 99 percent of all Chinese are farmers, and it's true
that most Chinese music – (1) _____ the classical, operatic and art music tra-
ditions – originates with rural, (2) _____ traditions, and has deep regional
roots.
For centuries, farmers in the north have practiced (3) ______ ensembles.
Ding County of Hebei is famous for (4) _____ in the double reeds: the guanzi
(double-reed pipe), the haidi (small oboe) and the suona (Northern oboe). In
Xian, the Western Capital of China, musicians for centuries practiced the
sheng (a free-reed (5) _____ organ) and di (reeded transverse flute) for join-
ing ensembles called Xian drum music. In the early 1960s, Liu Mingyuan and
the Xinying Traditional Orchestra wrote the popular "Years of Happiness"
based on rural traditional music.
Eastern China is "fiddle" country, and (6) _____ such as the erhu,
zhonghu, and the gaohu are popular as both solo and ensemble instruments.
The Zhejiang, Jiangsu, Shandong provinces have (7) _____ a lot of fiddlers,
29
including Wang Dianyu, Zhao Yuchai and the influential A Bing (1893–
1950), a street musician famous for his many compositions, (8) _____ his
most famous "Listen to the Pine."
In the south, folk music is often combined with dance. The huadeng is a
large class of regional dance. Huadeng is known in the West as the "lantern
dance" and translates (9) ______ as "flower lantern". The steps (10) _____
from place to place, but the dancers all carry lanterns or fans and they also
sing.
3 Read the text about modern Chinese music and choose the option A,
B, C or D, which best fits each gap.
Today's Chinese music is very (1) _____ to modern Western music. Like
young Westerners, young Chinese adults (2) _____ the concerts of famous
Chinese pop stars. Modern Chinese orchestras still play (3) _____ versions of
traditional pieces, but they also play classical and modern symphonic compo-
sitions. Popular modern music (4) _____ many aspects of Western music
from electric keyboards to guitars. Much of today's popular music can be
classified as soft rock, rock, or dance music.
_____ many aspects of popular Chinese music are similar to those of
popular Western music, many traditional facets to modern music remain.
Many traditional Chinese instruments are used in (6) _____ with popular in-
struments of Western cultures. The mixing of traditional instruments with
other instruments (7) _____ a wide variety of euphonious sounds and
rhythms. In (8) _____ , the mixing of traditional instruments with Western
styles of singing creates unique Chinese sounds. Many modern artists also in-
corporate traditional Chinese melodies into their songs, so even music using
only popular Western instruments sounds different. The mixing of Western
styles and Chinese styles with traditional Chinese instruments and other in-
struments (9) _____ for the creation of an endless scope of expression with
modern Chinese music.
30
6 Match the idioms with their definitions and find the Russian equiva-
lents to them.
1 arrange some music for a a welcome sound to someone;
something news that someone is pleased to
hear
2 chin music b stop everything!; hold it!
7 Fill in the sentences with the correct idiom in the correct form
from the exercise above.
31
6 My grandfather loves playing the piano. He ______ whenever he gets
the chance.
7 Mary crashed her Daddy’s car and had _____ when her father got
home.
8 Dad! Stop telling me to be careful when I drive. You ______!
9 John (entering the room):_____ ! There's a fire in the kitchen!
Mary: Good grief! Let's get out of here!
10 My grandfather is nearly ninety but he's _____ .
11 The dress needs a scarf or a necklace _____ it ___.
12 He _____ when he arrived at the cocktail party wearing old jeans.
TRANSLATION
32
бьют по нему деревянной палочкой. Также при игре муюй иногда носят
на шнурке через плечо.
8 Эрху – один из важнейших китайских струнных инструментов.
Он является одной из «составляющих» большого семейства струнных
инструментов. Всем известные скрипка и виола также входят в это се-
мейство.
9 Звучный и внятный, этот инструмент идеально подходит для
исполнения изумительно живых и приятно поражающих слух номеров и
часто бывает ведущим инструментом в духовых и оперных оркестрах.
Его громкий звук легко различить среди других инструментов. Он так
же способен задавать ритм и имитировать щебетание птиц и стрекот на-
секомых. Сона является по праву незаменимым инструментом для на-
родных празднеств и фестивалей.
10 Глиняный сюнь - один из древнейших духовых музыкальных
инструментов Китая. Археологические исследования показывают, что
около 8000 лет назад глиняный сюнь использовался в качестве оружия
для охоты. Во время правления Иня династии Шан (17 - 11 вв. до н.э.)
сюнь вытачивался из камня, костей животных и слоновой кости.
33
Своеобразно и сочетание вокальной музыки с инструментальной.
Инструменты либо создают шумовой фон, либо следуют за вокальной
мелодией, либо создают своего рода «заставку» или «концовку» для во-
кальной мелодии.
Значительное своеобразие китайской народной музыке сообщает
пятизвуковая музыкальная система — пентатоника, которая была уста-
новлена китайскими музыкальными теоретиками около IV века до н. э.
Своеобразие китайской музыки проявляется и в использовании раз-
нообразных музыкальных инструментов, выполненных из природных
материалов. Китайские музыкальные инструменты охватывают все
группы и подгруппы инструментов в современной их классификации.
В период средневековья происходит дальнейшее развитие ки-
тайской музыкальной культуры на основе народной песенной и танце-
вальной музыки. Возникают первые ростки музыкально-театрального
искусства. XII и XIII века ознаменованы зарождением китайской «опе-
ры», классического китайского театра, сохранившего свои основные
эстетические принципы до наших дней. Китайский театр был в полном
смысле народным. У большинства традиционных спектаклей неизвестен
был композитор. Обычно он попросту отсутствовал, так как спектакль
создавался целым коллективом музыкантов-исполнителей и актеров.
Музыкальная сторона классического театра отличается неразрыв-
ным единством звука, слова и танца. Круг образов, настроений, приемов
актерской игры характеризуется определенным типом мелодики, ритми-
ки, составом оркестра, оживляющих действие. Особенно велика была
роль ударных инструментов, которые призваны усиливать сценическую
игру и выразительность движения актеров и концентрировать на этом
внимание зрителей.
http://www.atexnik.ru/neopredeleno/osobennosti_narodnoj_muzyki_kitaya.php
WRITING
10 Read the article below and write the annotation (60-80 words).
34
When four Mormons
went on their mission trips to
China, they unlocked a passion
for Chinese music. They
learned new instruments that
have allowed them to present a
completely different type of music from anything heard in the United
States. The band Matteo, from Salt Lake City, plays songs that blend tradi-
tional Chinese and American folk music. While their inspiration is old, the re-
sults are something new. It’s Western songs interpreted on Chinese instru-
ments.
Matteo is made up of four 20-somethings: Eric Chipman, his wife Brinn
Bagley-Chipman, Luke Williams and Jordan Riley. Eric, Brinn and Jordan all
speak fluent Mandarin Chinese. They were raised in the Church of Jesus
Christ of Latter Day Saints and they did Mormon missions in Taiwan.
“You just agree, I’m going to be a missionary and wherever you send
me, I’ll go,” Bagley-Chipman said. “You just get a letter and you open it up
and you realize you are going to be in Taiwan for a year and a half or two
years.”
Bagley-Chipman is a talented violinist, but in Matteo she is often called
upon to play the erhu — an iconic Chinese instrument, a fretless fiddle with a
slender neck and just two strings. She'd been to China, as an English teacher,
but for her husband Eric, the thought of going to a crowded Asian city was
overwhelming.
“Before I got assigned, I couldn’t have thought of a place I wanted to go
least,” Chipman said. “I hated big cities, I hated crowds. I was honestly terri-
fied of it.”
When he wasn’t proselytizing, Chipman spent a lot of time hanging out
in music shops, checking out traditional Chinese instruments. One of them
caught his eye. “The guzheng is the one I would always go to because I
sounded better playing it than the other ones,” Chipman said. Shipping it
home to Utah wasn’t easy or cheap, but Chipman began using the guzheng in
his music. The first song it really worked in was “Sweet Sweeping Joy,”
which is on the band’s first album, “The Morning Market.” When they
recorded it, they weren’t exactly experts on Chinese instruments. “We knew
these instruments, we already felt like we were hacks at them,” Chipman
said. “We were not trained in any way and so we wanted to do more justice to
the instruments.”
Chipman and the rest of the band spent six weeks last summer studying
music at Sichuan University in Chengdu, China, and they learned just how
35
incorrectly they’d been playing their Chinese instruments. “There is just a
very certain way to play the instrument,” Bagley-Chipman said. “Innovation
and trying a different way isn’t necessarily valued. When we played things
that were new or different it was just confusing to them, rather than being
cool.”
Chipman said his teacher was a particularly demanding drill sergeant.
“The first four or five lessons I was sitting on this liuqin,” he said, plucking
one string, “and thought that I am not going to learn anything except how to
pluck the string over and over.”
The members of Matteo did eventually learn to play their Chinese in-
struments better and more authentically. They also recorded a new EP, which
they called “The Sichuan Project.” The songs on the album are still rooted in
American indie folk music, but Chipman isn’t scared of Taiwan or China
anymore. He says on this new album, China’s just bigger. “There is this thing
in Chinese aesthetic that we really like, where if like you look at a Chinese
landscape, it’d just be these big mountains and mists and waterfalls and just a
really small person on some cliff,” he said. “We wanted this to be bigger than
our personal lives.”
http://www.pri.org/stories/arts-entertainment/music/utah-band-blends-american-
folk-music-with-chinese-instruments-12988.html
36
Unit 3
LITERATURE OF CHINA. CALLIGRAPHY
37
what each speaker says.
38
can’t remember the author’s name – about a planet which is completely cov-
ered by water and it turns out to be… Well, I won’t tell you the end. It’s actu-
ally a great book although it was really depressing. It's been made into a film
but I don't think I’ll be going to see it.
5
When I was small my parents used to read to me a lot, especially at bedtime.
I used to like reading comics, and books with lots of pictures like the Asterix
series. Nowadays I actually prefer reading to watching movies. You’ve got
more time to think, you can get into the ideas more deeply. I work in the mu-
sic business, which is great but it can be stressful and I find a good novel just
helps me to escape from everything for a while. I suppose I'm a reading ad-
dict... I usually have several books on the go at any one time. And as well as
that I like reading music magazines to keep up with what's going on in the
music world.
Which speakers’ views do you agree with most?
READING
4 Read the text and match the sentences (A – G) to the gaps (1 -7).
There is one extra sentence which does not match any gap. Then, explain
the words and phrases in bold. Make up 5 questions to the text for the
groupmates to answer.
39
China has a very old and rich tradition in literature and the dramatic and
visual arts. Early writings generally derived from philosophical or religious
essays such as the works of Confucius (551-479 BC) and Lao-tzu (probably
4th century BC). (4) _____. A strong tradition of historical writing also
evolved. After the fall of a dynasty, for example, a grand history of the late
dynasty was commissioned and written by scholars in the next dynasty.
(5) _____. Poetry became well established as a literary form during the
T'ang Dynasty, from AD 618 to 907. One of China's greatest poets, Li Po,
wrote during this period. This tradition of poetry, often dealing with the rela-
tionship of humans to their natural surroundings, has continued.
Drama is another old and important literary form. Chinese drama usu-
ally combines vernacular language with music and song and thus has been
popular with the common people. (6) _____. Chinese opera is a favorite artis-
tic and cultural medium.
Early Chinese novels often stressed character development and usually
centered on an adventure or supernatural happening; an example is the
classic Ming version of `Shui-hu chuan' (The Water Margin). Historical
themes were also popular, as in the `Romance of the Three Kingdoms', writ-
ten in the late Yuan period. There were also love stories such as the extremely
popular.
"Dream of the Red Chamber', probably China's most famous novel.
Many of the early novels were written anonymously. (7) _____.
China's literary tradition continues to the present, though much 20th-
century writing has concentrated on efforts to reform or modernise China.
Probably the most famous 20th-century writer is Lu Xun, a poet, essayist,
and novelist whose work focused on the need to modernise through revolu-
tion. Under Communism, writers have been expected to uphold the values of
the socialist state, though the degree of control over their output has varied.
http://academic.brooklyn.cuny.edu/core9/phalsall/texts/chinlit.html
A These writings were often about how people should act and how the soci-
ety and political system should be organized and operated.
B A variety of popular and standard themes are presented in Peking Opera,
which is probably the best known of several operatic traditions that devel-
oped in China.
C This continuity results largely from the nature of the written language it-
self: it is the use of characters, not letters as in Western languages, that is
most important in the Chinese language.
D Often these works were written in the vernacular, and many authors felt it
was beneath their station to be associated with this type of writing.
40
E Because the written characters tend to keep the language stable, Chinese
never developed into distinctly separate languages as did Latin in southern
Europe with the formation of the several Romance languages.
F This has given rise to the great respect that calligraphy enjoys in China,
where it has been regarded for at least 16 centuries as a fine art comparable
to painting.
5 Read the first part of the text about the great classic novel ‘Dream
of the Red Chamber’. Use the word given in capitals to form a word that
fits in the space in the same line.
41
6 Read the second part of the text. If a line is correct, put a tick by it.
If it has a word which should not be there, write this word at the end of
the line.
The novel is most often titled "Red Chamber Dream". "Red 1__
chamber" is an idiom with several definitions; one in the 2__
particular refers to sheltered chambers where as the daughters of 3__
prominent families reside. It is also refers to a dream in Chapter 4__
5 that Baoyu has, set up in a "red chamber", where the fates of 5__
many of the characters are foreshadowed. 6__
The novel's tone is both metaphysical and realistic, and which 7__
was constructed in a way that reality and illusion are often hinted 8__
side by side and difficult to be differentiate. It has been hailed as 9__
one of the most psychologically penetrating works than in all 10_
world literature. The novel also provides on great insight in its 11_
depiction of the Chinese culture of the time, including many 12_
description of the era's "manners, expectations, and consequences. 13_
Many aspects of Chinese culture, such as like medicine, cuisine, 14_
tea culture, proverbs, mythology, the Confucianism, Buddhism, 15_
Taoism, filial piety, an opera, music, painting, classic literature, 16_
the Four Books, are vividly portrayed. Among from these, the 17_
novel is particularly notable but for its grand use of poetry. 18_
Two major themes that they are prevalent throughout the novel 19_
are the nature of ‘reality’ and of the ‘truth’. 20_
7 Read the final part of the text about ‘Dream of the Read Cham-
ber’ and cross out the incorrect word given in brackets.
42
In the novel's frame story, a sentient Stone, abandoned by the goddess
Nüwa when she mended the heavens aeons ago, (pleads/begs) a Taoist priest
and a Buddhist monk to bring it with them to see the world. The Stone, ac-
companied by a character named Divine Attendant-in-Waiting, was given a
chance to learn from the human existence, and (penetrates/enters) the mortal
realm.
The main character of the novel is the carefree adolescent male heir of
the family Jia Baoyu. He was born with a magical piece of "jade" in his
mouth. In this life he has a special bond with his sickly cousin Lin Daiyu,
who (devides/shares) his love of music and poetry. Baoyu, however, is pre-
destined to marry another cousin, Xue Baochai, whose grace and intelligence
exemplifies an ideal woman, but with whom he (comes short/lacks) an emo-
tional connection. The romantic rivalry and friendship among the three char-
acters against the backdrop of the family's declining fortunes forms the main
story in the novel.
‘Dream of the Red Chamber’ (comprises/consists) an extraordinarily
large number of characters: nearly forty are considered major characters, and
there are almost five hundred additional ones.
http://en.wikipedia.org/wiki/Dream_of_the_Red_Chamber
8 Complete the chart for ‘The Dream of the Red Chamber’ using
the information from Activities 5 – 7.
Title
Author’s name
Year of publication
Genre
Major themes
Characters
Plot
Additional
information
9 Choose two or three pieces of Chinese literature from the list be-
low and make a report or presentation about them. Complete the chart
as in Activity 8.
Water Margin by Shi Naian
Romance of the Three Kingdoms by Luo Guanzhong
Journey to the West by Wu Cheng'en
Strange Stories from a Chinese Studio by Pu Songling
43
Jin Ping Mei (or The Plum in the Golden Vase) by Lanling Xiaoxiao
Sheng
Flowers in the Mirror by Li Ruzhen
The Scholars by Wu Jingzi
The Master of Huai-nan by Liu An
The Romance of the Eastern Zhou edited by Cai Yuanfang
The Story of the Western Wing by Wang Shifu
The Peony Pavilion by Tang Xianzu
The Peach Blossom Fan by Kong Shangren
The Palace of Eternal Life by Hong Sheng
The Orphan of Zhaoy by Ji Junxiang
TRANSLATION
44
комбинацию различных художественных форм, чью изысканность редко
удается превзойти современным издателям и типографам, слепо
полагающимся на механические, электронные и фотографические
достижения печати.
6 Пожалуй, наиболее известными из ранних китайских литератур-
ных памятников для европейцев стали творения Конфуция (551—479 до
н.э.). В число сводных трудов, собранных воедино его учениками, во-
шли: "Летописи весны и осени"; "Книга перемен', представляющая со-
бой систему предсказаний; "Книга церемоний" и, наконец, "История
княжества Лу" — родины Конфуция.
7 Поэмы, написанные в лирическом или эпическом стиле, играют
исключительно важную роль в китайской литературе. Умение читать и
писать поэтические произведения было неотъемлемой частью курса на-
чального обучения представителей высших социальных слоев. В период
династии Тан (618—907) началась золотая эпоха китайской поэзии. Ни-
какой другой период в истории страны не мог похвастать таким
большим числом поэтов и поэтических произведений высочайшего
класса, как этот. Наиболее полно поэзия периода Тан представлена в
сборнике "Цюанъ Танши", включающем около 50 тыс. поэм и стихов,
принадлежащих перу 2200 поэтов.
8 Устойчивые образы использовались в китайской поэзии на протя-
жении многих столетий. Древняя китайская история, китайская литера-
тура, система верований, включая буддизм, конфуцианство и даосизм,
сформировали китайскую систему ценностей, которая нашла свое отоб-
ражение в художественной литературе. В лирических произведениях
описывается китайская система строения окружающего мира, Небесных
Владык и Фей, драконов и других мифических животных, звёзд и небес-
ных светил, времён года, ветра, воды, деревьев, цветов, соответствия
цвета различным периодам жизни человека, поклонения государям и
уважения к старшим, забота о семье, дружба и верность. В современных
китайских стихах также отмечается обращение поэтов к традиционным
ценностям и символам, которые были присущи Китаю на протяжении
тысячелетий.
9 Серьёзной проблемой для перевода «Сна в красной комнате» яв-
ляется использование автором несколько стилей разговорного и литера-
турного языка и включение форм классической поэзии, которые являют-
ся неотъемлемой частью романа. По оценке Энн Лонсдейл, приведённой
в Литературном приложении «Таймс», роман «общеизвестен как труд-
ный для перевода». Тем не менее, многие, по разным причинам, взяли
на себя задачу перевести это произведение.
45
10 Традиционная китайская драма относится скорее к музы-
кальным, нежели разговорным видам искусства. Хотя это и не опера в
западном представлении, ее развитие всегда шло в русле эволюции
национальной музыки. Составными элементами китайской драмы в
равной степени являются танец, диалог, пение и инструментальная
музыка. Язык китайского театра представляет собой сочетание стихов и
прозы, литературного и разговорного стиля, причем за каждым
компонентом закреплена определенная функция. Содержание пьес,
порой весьма запутанное, составляют, как правило, темы и сюжеты,
заимствованные из легенд и исторических хроник. Изображение
происходящего далеко от реализма: декорации, за исключением задника,
отсутствуют, реквизит сведен к минимуму, время и место действия
трактуются произвольно.
10 Translate the text about Chinese calligraphy and painting from Rus-
sian into English.
46
тайской каллиграфии. Знаки очень разнообразно оформлены: одни глу-
боко врезаны, другие очень порывисты, третьи округлы в линиях. В це-
лом они более гармоничные и мягкие, чем знаки на глиняной посуде,
они как бы подстраиваются под природные формы костей и панцирей.
Сегодня при письме используются «четыре сокровища
мастерской»: бумага, кисть, тушь и пемза. Тушь в виде палочек растира-
ется пемзой в чашечке и разводится водой. Густоту задает нужная ин-
тенсивность тона - от светло-серого до густо-черного, главного цвета
каллиграфии. Бумага легко впитывает тушь, передавая малейшие оттен-
ки цвета, характер. Каждое прикосновение кисти к бумаге создает рису-
нок, который, в отличие от европейской живописи, уже невозможно из-
менить и исправить. Это относится и к иероглифике, и к живописи. За-
мысел должен полностью созреть в голове художника, прежде чем он
возьмется за кисть.
Каллиграфия и живопись в Китае тесно связаны друг с другом. Обе
основаны на одних и тех же принципах и часто дополняют одна другую.
Иероглифы очень напоминают рисунок, а на картинах
чаще всего присутствуют стихи и другие надписи.
Главное место в китайской живописи занимает пей-
заж. Заоблачные горы создают вертикаль, река или озеро
- горизонталь. Иногда встречаются крошечные фигурки
людей. Изображение плоскостно, лишено центральной
перспективы и глубины.
Обучение живописи сводилось к копированию ра-
бот старых мастеров. Достигшие в этом совершенства
могли создавать свою собственную манеру, минимально
отклоняющуюся от канона. И сегодня взгляды на
проблему оригинала и копии в Китае и на Западе диа-
метрально противоположны.
Китайские художники часто изображают зверей, особенно лоша-
дей, во всевозможных видах, а также птиц и животных, имеющих сим-
волическое значение, например черепах, цапель и цикад. В цветочных
композициях на первом плане выделяются «четыре благородных»: орхи-
дея, цветок сливы мэй, хризантема и бамбук, символизирующие времена
года. Изображения людей - это чаще всего портреты знатных особ, а
также типажи, например отшельник или монах.
Китайские мастера часто творили просто для себя, если речь идет о
чиновниках, и искусство было для них усладой взора и души, или, буду-
чи ремесленниками, они стремились создать нечто новое и прекрасное.
Но верхом совершенства считались резьба по нефриту, камню и слоно-
вой кости и каллиграфические надписи на рисовых зернышках.
47
Кто испытывает страх перед огнедышащим драконом? Все, кроме
китайцев. Для них это чудище - добрый, приносящий удачу зверь, по-
кровитель гор и рек, владыка Востока, откуда восходит дарующее жизнь
солнце. На картинах и рельефах драконов часто изображают играющим
с жемчужиной, символом грома, и эта игра считается источником дождя.
Дракон - символ мужской силы. Начиная с эпохи Хань пятипалый дра-
кон олицетворял императора, четырехпалый - принца, а трехпалый -
высших чиновников. Драконы извивались на императорских одеждах,
обвивали колонны дворца, украшали потолки, мебель, фарфор и все что
угодно.
Спутником императорского дракона считается Феникс, мифическая
птица, в древности связывавшаяся с мужским началом, а начиная с эпо-
хи Мин Драконы считались стражами рек и озер и стали атрибутами им-
ператрицы.
Символическое значение других животных определяется их свой-
ствами. Взять хотя бы долгожительницу-черепаху. Выпуклый ее пан-
цирь воплощает Небо, плоское брюхо - Землю, а черепаха в целом - дол-
голетие. Могучий лев олицетворяет стражу, конь - силу воли, павлин -
красоту, а обезьяна - хитрость. Если же подходящего животного в при-
роде нет, его попросту создают. Так, присевшие на задние лапы цили-ни
(мифологические существа с головой оленя, хвостом быка, чешуйчатой
кожей и мягкими рожками) символизируют мудрых искусных прави-
телей, так сказать идеальных чиновников.
http://www.fusion-tour.ru/tours/china/about/country/art.php
WRITING
12 Read the article below and write the annotation (60-80 words).
48
the committee because they reflected ordinary people's lives, Chinese culture
and the national spirit.
A man who shuns the limelight, Mo Yan hoped that the hype would die
down in a month so he could return to writing. But the country of 1.3bn peo-
ple appears determined to celebrate him for as long as possible. Messages of
congratulation have poured in from high-ranking officials, fellow writers and
ordinary people alike.
His village plans to renovate the Mo Yan Literature Museum, name the
local primary school after him, and build a statue; they also hope to develop a
themed tourist route, with lots of red sorghums planted along the way in a
nod to one of his most famous novels. A post office issued commemorative
stamps, and Mo Yan's name and image have appeared in a wide range of
products, from T-shirts to spirit bottles.
Within days, his novels and short stories were flying off the shelves so
quickly that they were out of stock in quite a few cities. And there have been
two cases of copyright violations, in an attempt to cash in on his fame.
Fame has brought benefits as well headaches. A recent rich list of Chi-
nese writers shows Mo Yan as the second richest writer in China, with annual
royalties of $3.45 million in 2012. So what does the man himself make of it
all? When asked by the Chinese Central TV station if he was happy, Mo Yan
replied: "I don't know. I am under a lot of pressure, and feeling very anxious.
How can I be happy? But if I say I am not happy, then it is a bit disingenuous.
I just won the Nobel Prize, how can I say I am not happy"?
At his press conference on 6 December in Stockholm, he stressed that
the Nobel Prize is a personal honour given to an individual rather than a
country. This has gone down well with Chinese microbloggers who wel-
comed it as a departure from the default mode of "thanking my country".
Mo Yan was born in 1955 into a large peasant family, and like many of
his generation he suffered the pain and anguish brought about by political tur-
moil as well as natural disasters. He is quoted as saying that hunger and lone-
liness are his inspiration for writing, and indeed the majority of his writing is
about rural life. In a prolific career spanning 30 years, Mo Yan has produced
11 major novels, some 30 long stories and around 80 short stories.
There is no question that Mo Yan is held in high regard by many of his
fellow writers. Famous Chinese author Wang Meng says that Mo Yan is a
representative writer of his generation; while Gao Hongbo says that Mo Yan's
understanding of the Chinese culture is second to none. Writer Su Tong
thinks Mo Yan won entirely on the merits of his writing. But there has been
criticism too. Liao Yiwu, a dissident writer in Germany, says he is shocked
that Mo Yan won, because he is too closely associated with the establishment.
UK-based writer in exile Ma Jian criticizes Mo Yan for not shouldering social
49
responsibilities, as a famous writer can. Others feel Mo Yan is too eager to
please the authorities, citing his offer to copy Mao Zedong's work by hand in
2012 as an example.
Yet others try to understand Mo Yan as a writer and as a human being.
They think that Mo Yan avoids taking a political stand or criticising the gov-
ernment in order to survive in China, but he seems to be extremely critical of
government policies in many of his literary works. Isn't that the way the ma-
jority of intellectuals live in China, they ask.
Mo Yan seems to be fully aware of the criticism and comments. He said
in the Gaomi press conference that if the critics had read his works, they
would have realised that he was writing under tremendous pressure, and he
was taking a huge risk. At the press conference in Stockholm on 6th Decem-
ber, Mo Yan refused to comment on Liu Xiaobo. When pressed on the matter
by a Taiwanese journalist a stern-faced Mo Yan replied: "I have always been
independent; if people want to force me to express an opinion, I won't do it".
This will be disappointing for those who hoped that with the Nobel under his
belt, he would be more willing to take risks and take a stand on social issues.
The huge expectations piled on a Chinese Nobel laureate will be something
Mo Yan just can't shake off.
http://www.bbc.co.uk/news/world-asia-china-20598875
50
PART II Japan
UNIT 1
THEATRE AND CINEMA OF JAPAN
LEAD-IN
READING
Theatre of Japan
51
There are three major forms of traditional Japanese theater that are fa-
mous around the world. These are Kabuki, Noh, and Bunraku. They are
presented in the spidergram below.
4 Read the text. For questions 1-5, choose the best answer, A, B, C or
D.
Kabuki (歌舞伎)
Kabuki is a traditional Japanese form of theater with roots tracing back to
the Edo Period. It is recognized as one of Japan's four major classical theaters
and has been named as a UNESCO Intangible Cultural Heritage. Kabuki is
an art form rich in showmanship. It involves elaborately designed costumes,
eye-catching make-up, outlandish wigs, and arguably most importantly, the
exaggerated actions performed by the actors. The highly-stylized movements
serve to convey meaning to the audience; this is especially important since an
old-fashioned form of the Japanese language is traditionally being used, which
is difficult even for some Japanese people to understand.
Dynamic stage sets such as revolving platforms and trapdoors allow for
the prompt changing of a scene or the appearance/disappearance of actors.
Another specialty of the kabuki stage is a footbridge (hanamichi) that leads
through the audience, allowing for a dramatic entrance or exit. Ambience is
aided with live music performed using traditional Japanese instruments. The
various elements are combined to produce a visually stunning and captivating
performance.
Plots are usually based on historical events, warm-hearted dramas,
moral conflicts, love stories, tales of tragedy of conspiracy, or other well-
52
known stories. A unique feature of a kabuki performance is that what is on
show is often only part of an entire story (usually the best part). Therefore, to
enhance the enjoyment derived, it would be good to read a little about the
story before attending the show.
When it originated, kabuki used to be acted only by women, and was
popular mainly among common people. Later during the Edo Period, a re-
striction was placed forbidding women from participating; to the present day
it is performed exclusively by men. Several male kabuki actors are therefore
specialists in playing female roles (onnagata).
http://www.japan-guide.com/e/e2090.html
53
5 Read the text. Decide, if each statement (1-5) is true or false.
Noh (能)
Noh is a form of theater involving music, dance and drama, originating in
the 14th century. It was developed together with kyogen, which are comical
pieces performed during interludes of the main noh performance. The dual art
of noh and kyogen is known as nogaku.
During the Tokugawa Period (1603-1867), the shogunate made noh its
official ceremonial art and issued regulations for its governance. Noh thus be-
came increasingly standardized, with an emphasis on tradition rather than in-
novation. A fifth troupe was added during this time, making five main noh
troupes which survive and perform till this day.
Noh theater is structured around song and dance. Movement is slow,
language is poetic, tone is monotonous, and costumes are rich and heavy.
Plots are usually drawn from legend, history, literature and contemporary
events. Themes often relate to dreams, supernatural worlds, ghosts and spir-
its. All performers in noh are male.
One key element of noh are the masks. They tell the audience what kind
of character is being portrayed. Frequently used masks represent demons,
spirits, as well as women and men of various ages. The masks are carved
from blocks of Japanese cypress.
http://www.japan-guide.com/e/e2090.html
1. Main features of a noh performance are music, dance and drama. T/F
2. The dual art of noh and kyogen is known as hanamichi. T/F
3. Because of being ceremonial art, noh became bright
and picturesque. T/F
4. Masks in noh are used in order to explain who the character is. T/F
5. Noh became ceremonial art during the Edo Period. T/F
Bunraku (文楽)
Bunraku is a traditional puppet theater of Japan. It started of as popular
entertainment for the commoners during the Edo Period in Osaka and evolved
into artistic theater during the late 17th century.
Bunraku puppets are about one-half life size and each operated by three
performers: a principal operator and two assistants. Strings are not used, but
rather, the puppeteers co-operate to maneuver the limbs, eyelids, eyeballs,
eyebrows and mouths of the puppets, thereby producing life-like actions and
54
facial expressions. The puppeteers are in full view of the audience, but are
dressed in black to symbolize that they are to be taken as "invisible".
The story is narrated by a single person, who also speaks the voice of all
the puppets, and therefore must have a diverse repertoire of vocal expressions
to represent both genders and all ages. The pace of the narration is dictated by
accompanying music, played on the shamisen. Bunraku often depicts stories
based on adaptations of scripts with similar themes. Classic tragic love sto-
ries, heroic legends and tales based on historical events are popular.
(from http://www.japan-guide.com/e/e2090.html)
VOCABULARY
7 Fill in the correct word(s) from the list below in the proper form.
1. As far as she had serious problems with her hair, he decided to buy a ….
2. Don’t try to pretend to be …! I see what you are going to do!
3. When old friends met, they greeted each other with a … smile.
4. His speech was too … . The lack of notional … spoilt the whole impres-
sion.
5. My sister doesn’t want to … in a … play, performed by her class.
6. The artist … in his canvas a battle scene.
7. While studying at the philological faculty she preferred the following …:
drama and poetry.
8. There will be two … during this long performance.
9. The … develops very slowly in the books of this author, because he needs
to keep his readers in suspense.
10. This unusual tradition … in the atmosphere of total joy and happiness.
A B
55
1. to depict 1. atmosphere
2. to show 2. public
3. ambience 3. to contain
4. unique 4. marionette
5. to involve 5. to display
6. ceremony 6. to concur
7. audience 7. to escort
8. puppet 8. to paint, to potray
9. to cooperate 9. rite
10. to accompany 10. unequalled
Kyogen
10 Match the numbers (1-8) with the letters (A-I), then join the sen-
tences.
56
8. Kabuki is a type of theatre H Japanese theatre is Kabuki.
11 Read the article and choose the right word to fill in each gap.
Japanese Movie
First Japanese movies were filmed at the end of the 19 th century. Since
that time Japanese cinema 1… has become one of the most famous and large
film industries in the world. In 2…, over 400 Japanese films were 3… in
2011. The cinema of Japan has 4… specific 5…: Japanese horror movies
(Battle Royal, suicide Club, etc.), Japanese samurai movies (Zatoichi, Seven
Samurai, etc.), and, 6…, one of the most 7… Japanese genres, Japanese ani-
mation movies (My Neighbour Totoro, Spirited Away, etc.). This is not a full
Japanese movies 8…, also there are a lot of good Japanese romance movies
(Hana Kimi, etc.), Japanese action movies (Godzilla, etc.). Akira Kurosawa,
Masaki Kobayashi, Takeshi Kitano – just 9… names from a number of tal-
ented, innovative, ironic and original Japanese 10… who made extraordinary
movies
http://www.mymoviemarket.com/country/Japan
TRANSLATION
57
3. Рождение японского театра обычно связывают с появлением пан-
томимы Гигаку ("актерское искусство") и танцев Бугаку ("искусство тан-
ца"), заимствованных из континентальной культуры в VII веке.
4. Традиционный японский театр - это сложный и многоцветный
мир, компонентами которого являются актерское мастерство, музыка,
сценография, маски, декорации, костюмы, грим, куклы, парики и т.д.
5. Современная драма сингэки появилась в Японии в начале ХХ
века под влиянием европейского театра.
6. Правительство Японии в 1629 году запретило женские театраль-
ные труппы, мотивируя это необходимостью охраны общественной
нравственности и порядка.
Many Western plays, from those of the Ancient Greek theatre to William
Shakespeare and from those of Fyodor Dostoevsky to Samuel Beckett, are
performed in Tokyo. An incredible number of performances, perhaps as many
as 3,000, are given each year, making Tokyo one of the world's leading the-
atrical centers.
The opening of the replica of the Globe Theatre was celebrated by im-
porting an entire British company to perform all of Shakespeare's historical
plays, while other Tokyo theaters produced other Shakespearean plays in-
cluding various new interpretations of Hamlet and King Lear. The Globe
Theatre, located in Shin-Ōkubo in Tokyo, now belongs mostly to Johnny's
Entertainment and the promotion of pop idols in the acting field.
Yukio Ninagawa is an internationally known Japanese director and play-
wright who often turns to elements of Shakespeare for inspiration. In 1995 he
performed the "Shakespeare Tenpo 12Nen", an interpretation of the wildly
popular British theatre Shakespeare Condensed: all of Shakespeare's plays in
two hours. Famous actors such as Natsuki Mari and Karawa Toshiaki were
involved.
http://en.wikipedia.org/wiki/Theatre_of_Japan)
Movies
58
Although the first home-grown movies appeared before the end of the
last century, it wasn't until after World War I that they became something
more than adaptations of stage plays and kabuki. The Nikkatsu and Shochiku
film companies started at this time. From about 1920, Japanese film was di-
vided into two main categories: Jidai-geki, or period films and Gendai-geki,
or films with modern settings. The jidai-geki usually centered on a lone
swordsman, who struggled to reconcile the conflict between his obligations
(giri), and his true feelings (ninjo). This theme later became central to the
gangster, or yakuza genre, originated by the Toei company in the 1960's.
Gendai-geki reflected social changes of the day and individual director's
views on life and society.
Censorship by the increasingly militaristic government continued
through the 1930's and World War II, although its guidelines were largely ig-
nored. The US occupation temporarily banned pre-1945 films and clamped
down on the sword-wielding jidai-geki. But after control of the movie indus-
try was handed over to the independent Motion Picture Code Committee in
1949, they soon came back in force.
http://www.japan-zone.com/modern/movie.shtml
WRITING
15 Read the text below and write the annotation to the text.
The history of anime begins at the start of the 20th century, when Japa-
nese filmmakers experimented with the animation techniques that were being
explored in France, Germany, the United States, and Russia. The oldest
known anime in existence was screened in 1917; it was a two minute clip of a
samurai trying to test a new sword on his target, only to suffer defeat.
By the 1930s, animation became an alternative format of storytelling
compared to the underdeveloped live-action industry in Japan. Unlike Amer-
ica, the live-action industry in Japan remained a small market and suffered
from budgeting, location, and casting restrictions. The lack of Western-look-
ing actors, for example, made it next to impossible to shoot films set in Eu-
rope, America, or fantasy worlds that do not naturally involve Japan. Anima-
tion allowed artists to create any characters and settings.
The success of Disney's 1937 feature film "Snow White and the Seven
Dwarfs" influenced Japanese animators. Osamu Tezuka adapted and simpli-
fied many Disney animation techniques to reduce the costs and number of
59
frames in the production. This was intended to be a temporary measure to al-
low him to produce material on a tight schedule with an inexperienced ani-
mation staff.
During the 1970s, there was a surge of growth in the popularity
of manga—which were often later animated—especially those of Osamu
Tezuka, who has been called a "legend". His work and that of other pioneers
in the field, inspired characteristics and genres that are fundamental elements
of anime today.
In the 1980s, anime became more accepted in the mainstream in Japan
(although less than manga), and experienced a boom in production. Follow-
ing a few successful adaptations of anime in overseas markets in the 1980s,
anime gained increased acceptance in those markets in the 1990s and even
more in the 2000s.
http://en.academic.ru/dic.nsf/enwiki/139
16 Read the text below and write the annotation to the text.
Modern theatre
Japanese modern drama in the early 20th century, the 1910s, consisted
of Shingeki (experimental Western-style theater), which employed naturalistic
acting and contemporary themes in contrast to the stylized conventions of
Kabuki and Noh. Hōgetsu Shimamura and Kaoru Osanai were two figures in-
fluential in the development of shingeki.
In the postwar period, there was a phenomenal growth in creative new
dramatic works, which introduced fresh aesthetic concepts that revolution-
ized the orthodox modern theater. Challenging the realistic, psychological
drama focused on "tragic historical progress" of the Western-derived
shingeki, young playwrights broke with such accepted tenets as conventional
stage space, placing their action in tents, streets, and open areas and, at the
extreme, in scenes played out all over Tokyo.
Plots became increasingly complex, with play-within-a-play sequences,
moving rapidly back and forth in time, and intermingling reality with fantasy.
Dramatic structure was fragmented, with the focus on the performer, who of-
ten used a variety of masks to reflect different personae.
Playwrights returned to common stage devices perfected in Noh and
Kabuki to project their ideas, such as employing a narrator, who could also use
English for international audiences. Major playwrights in the 1980s were Kara
Juro, Shimizu Kunio, and Betsuyaku Minoru, all closely connected to specific
companies. In contrast, the fiercely independent Murai Shimako won awards
60
throughout the world for her numerous works focusing on the Hiroshima
bombing, which were frequently performed by only one or two actresses. In
the 1980s, stagecraft was refined into a more sophisticated, complex format
than in the earlier postwar experiments but lacked their bold critical spirit.
http://en.wikipedia.org/wiki/Theatre_of_Japan
61
этого тура на родину культуры манга и аниме была принята с большим
энтузиазмом.
Магазины с товарами аниме расположены в районе Токио Акихаба-
ра. Акихабара также широко известен как предлагающий в Японии наи-
большую концентрацию электронных товаров и является популярным
местом для туристов, привлекая аудио- и видео-любителей, компьютер-
ных и игорных фанатов со всего мира. По данным японской Националь-
ной Туристической Организации, 6.6% иностранных туристов,
приезжающих в Японию, посетили Акихбара.
Многие потенциальные адресаты для туризма по маршруту манга и
аниме существуют вне Токио. Сайты, связанные с известными художни-
ками комиксов, аниматорами и их работами разбросаны по всей Япо-
нии. Так, в музее Бандай в Матсудо открыли большую секцию, посвя-
щенную сериалу Гандам. Япоское аниме как средство привлечения ту-
ристов оказалось очень эффективным, и туристические фирмы Японии
находятся в предвкушении еще большего наплыва туристов из-за рубе-
жа.
http://www.zametkituristov.ru/yaponskie-anime-kak-sposob-privlecheniya-turistov
62
UNIT 2
MUSIC OF JAPAN. TRADITIONAL MUSICAL INSTRUMENTS
LEAD-IN
A B C
D E F
G H
63
READING
There are four main kinds of Japanese folk songs (min'yō): work songs,
religious songs (such as sato kagura, a form of Shintoist music), songs used
for gatherings such as weddings, funerals, and festivals (matsuri, especially
Obon), and children's songs (warabe uta).
In min'yō, singers are typically accompanied by the 3 stringed lute
known as the shamisen, taiko drums, and a bamboo flute called shakuhachi.
Other instruments that could accompany are a transverse flute known as the
shinobue, a bell known as kane, a hand drum called the tsuzumi, and/or a 13
stringed zither known as the koto. In Okinawa, the main instrument is the
sanshin. These are traditional Japanese instruments, but modern instrumenta-
tion, such as electric guitars and synthesizers is, also used in this day and age,
when enka singers cover traditional min'yō songs (Enka being a Japanese
music genre all its own).
Terms often heard when speaking about min'yō are ondo, bushi, bon uta,
and komori uta. An ondo generally describes any folk song with a distinctive
swung 2/2 time rhythm. The typical folk song heard at Obon festival dances
will most likely be an ondo. A bushi is a song with a distinctive rhythm. In
fact, its very name means "rhythm" or "time," and describes the ostinato pat-
tern played throughout the song. Bon uta, as the name describes, are songs
for Obon, the lantern festival of the dead. Komori uta are children's lullabies.-
Many of these songs include extra stress on certain syllables, as well as
pitched shouts (kakegoe). Kakegoe are generally shouts of cheer, but in
min'yō they are often included as parts of choruses. There are many kakegoe,
though they vary from region to region. In Okinawa Min'yō, for example, one
will hear the common "ha iya sasa!" In mainland Japan, however, one will be
more likely to hear "a yoisho!," "sate!," or "a sore!" Others are "a donto koi!,"
and "dokoisho!" A guild-based system exists for min'yō; it is called
iemoto. Education is passed on in a family, and long apprenticeships are com-
mon.
http://www.gojapango.com/culture/japanese_music_folk.html
64
3. What is the Japanese name for a transverse flute?
4. What is the main instrument in Okinawa?
5. What is ondo?
6. What is the Japanese name for a song with a distinctive rhythm?
7. What is a traditional name for a lullaby?
8. What sounds are used as a part of a chorus?
9. Where is it possible to learn playing musical instruments?
10. What is enka?
VOCABULARY
4 Fill in the correct word(s) from the list below in the proper form.
A B
1. to include A tension
2. apprenticeship B definite
3. a copy C training
4. certain D to involve
5. to lead E a list
6. pressure F a replica
65
7. chart G famous
8. well-known H to tend to
9. ultimately I humbleness
10. simplicity J mainly
The past decade has seen a huge revolution in electronic music around
the globe. Japan is no 1 (exception/expulsion). Often blending with the other
genres, 2 (peculiarly/particularly) j-pop and j-rock, Japanese electronic mu-
sic, sometimes 3 (mentioned/referred) to as J-Synth, has flourished both in
Japan and 4 (abroad/outdoors) in 5 (late/recent) years. Japanese artists such
as Takako Minekawa, Fantastic Plastic Machine, and Kahimi Karie are creat-
ing some of the most ground-breaking beats in the world today. These girls
attempt to 6 (emulate/compete) in their particular styles.
Although far less 7 (popular/well-known) than J-pop, J-rock, or Elec-
tronica, ska music has a definite presence in Japan. 8 (Emerging/appearing)
about a decade ago with 9 (predecessor/forerunner) bands Ska-Flames and
Tokyo Ska Paradise Orchestra, the Japanese ska scene saw a huge popular
surge in 1997, which quickly died out. However, many Japanese ska bands
continue to persist despite a lack of 10 (centre/mainstream) support. The De-
terminations, The Side Burns, and Blue Beat Players are Japanase ska bands
popular among fans of the genre.
http://web.mit.edu/21f.066/www/theisen/music/genres.html
7 Read the text and put the words into the correct forms.
66
artists became popular in 1990s, new names in the late 90s 6 to include
6 ____Hikaru Utada and Morning Musume. Hikaru
Utada's debut album, First Love, went on to be the highest-
selling album in Japan with over 7 million copies 7 _____, 7 to sell
whereas Ayumi Hamasaki became Japan's top selling fe-
male and solo 8 _____, and Morning Musume remains 8 art
one of the most 9_________ girl groups in the Japanese 9 to know
pop music 10_______ . well
10 industrial
8 Match the numbers (1-10) with the letters (A-J), then join the sen-
tences.
TRANSLATION
67
1. Косаку Ямада являлся выдающимся японским композитором, ди-
рижером, музыкальным педагогом, а также основоположником японской
композиторской школы.
2. Как классическая, так и современная японская музыка – это за-
гадка, пространство звуков, где необходимо не просто слушать, но при-
слушиваться.
3. Особый колорит в инструментальную музыку вносят звуки элек-
тронного барабана.
4. Этот талантливый молодой музыкант создает чрезвычайно
необычную музыку, смешивая множество звучащих инструментов и
превращая живой звук в электронный.
5. В данной телевизионной программе будет представлен сольный
проект известного японского гитариста и композитора Smidzuko.
6. Придворный ансамбль японского императора исполнял Gagaku –
древнюю придворную и танцевальную музыку.
7. Кото – это традиционный японский инструмент, позволяющий
исполнять музыкальные произведения, полные медитативной созерца-
тельности.
8. Музыка в аниме состоит из песен, музыкального фона, музыкаль-
ных тем, используемых в начальной и конечной заставках, и звуковых
эффектов.
9. В Средневековье слепые женщины путешествовали по землям
Японии, исполняя песни и аккомпанируя себе на маленьких барабанах.
Koto
68
The koto is one of the most popular Japanese traditional musical instru-
ments. To many, the character of koto music is evocative of traditional Japan
with the attributes of the western harp, dulcimer and lute.
Many Japanese legends refer to the origins of the koto. A popular one
says that the koto was formed in the shape of crouching dragon, a charmed
and mythical creature of ancient Japan and China.
The koto was brought to Japan around the end of the 7th century by Chi-
nese and Korean musicians who came to play in the Japanese court orchestra,
gagaku. By the 15th century, solo repertoires for koto, sookyoku began to
emerge. In the early Edo period (around the 17th century), sookyoku was a
popular source of entertainment for the wealthy merchant classes.
The thirteen strings of the koto are stretched along a soundboard of
nearly two metres made of hollowed-out paulownia timber. The strings were
traditionally made of silk, nowadays synthetic. It is tuned for different songs
by movable bridges of ivory or plastic.
The koto is played with ivory plectrum on the
thumb and the first two fingers of the right hand, the left
hand applying pressure to vary the pitch. The music
ranges from the simplicity of the traditional to the
melodic as well as challenging contemporary pieces.
http://www.gojapango.com/culture/koto.html
69
rization of popular bands such as GLAY and L'Arc-en-Ciel up for debate.
http://web.mit.edu/21f.066/www/theisen/music/genres.html
WRITING
12 Read the text below and write the annotation to the text.
The shamisen derives from the sanshin (a close ancestor from the south-
ernmost Japanese prefecture of Okinawa and one of the primary instruments
used in that area), which in turn evolved from the Chinese sanxian, itself de-
riving ultimately from Central Asian instruments.
The shamisen can be played solo or with other shamisen, in ensembles
with other Japanese instruments, with singing such as nagauta, or as an ac-
companiment to drama, notably kabuki and bunraku. Both men and women
traditionally played the shamisen.
The most famous and perhaps most demanding of the narrative styles is
gidayū, named after Takemoto gidayū (1651-1714), who was heavily in-
volved in the bunraku puppet-theater tradition in Osaka. The gidayū shamisen
and its plectrum are the largest of the shamisen family, and the singer-narra-
tor is required to speak the roles of the play, as well as to sing all the com-
mentaries on the action. The singer-narrator role is often so vocally taxing
that the performers are changed halfway through a scene. There is little no-
tated in the books of the tradition except the words and the names of certain
appropriate generic shamisen responses. The shamisen player must know the
entire work perfectly in order to respond effectively to the interpretations of
the text by the singer-narrator. From the 19th century female performers
known as onna-jōruri or onna gidayū also carried on this concert tradition.
In the early part of the 20th Century, blind musicians, including Shi-
rakawa Gunpachirō (1909-1962), Takahashi Chikuzan (1910-1998), and
sighted ones such as Kida Rinshōe (1911-1979), evolved a new style of play-
ing, based on traditional folk songs ("min'yō"), but involving much improvi-
sation and flashy finger work. This style - now known as Tsugaru-jamisen,
after the home region of this style in the north of Honshū - continues to be
relatively popular in Japan. The virtuosic Tsugaru-jamisen style is sometimes
compared to bluegrass banjo.
http://www.gojapango.com/culture/shamisen.html
70
13 Read the text below and write the annotation to the text.
Taiko performing
The taiko is a Japanese drum that comes in various sizes and is used to
play a variety of musical genres. It has become particularly popular in recent
years as the central instrument of percussion ensembles whose repertory is
based on a variety of folk and festival music of the past. Such taiko music is
played by large drum ensembles called kumi-daiko. Its origins are uncertain,
but can be stretched out as far back as the 7th centuries, when a clay figure of
a drummer indicates its existence. China influences followed, but the instru-
ment and its music remained uniquely Japanese. Taiko drums during this pe-
riod were used during battle to intimidate the enemy and to communicate
commands. Taiko continue to be used in the religious music
of Buddhism and Shintō. In the past players were holy men, who played only at
special occasions and in small groups, but in time secular men (rarely
women) also played the taiko in semi-religious festivals such as the bon
dance.
Modern ensemble taiko is said to have been invented by Daihachi
Oguchi in 1951. A jazz drummer, Oguchi incorporated his musical background
into large ensembles, which he had also designed. His energetic style made
his group popular throughout Japan, and made the Hokuriku region a center for
taiko music.
During the 1970s, the Japanese government allocated funds to preserve
Japanese culture, and many community taiko groups were formed. Later in
the century, taiko groups spread across the world, especially to the United
States.
http://en.wikipedia.org/wiki/Music_of_Japan
Японская Музыка
71
нимает второе место в мире, уступая лишь США. Недаром огромной по-
пулярностью среди японцев пользуются караоке-бары.
Классическая музыка Японии создавалась при непосредственном
влиянии культур Китая, Индии, государств Корейского полуострова. За-
имствовав многое из этих стран, и с течением времени придав собствен-
ный национальный колорит, сформировалась традиционная музыка
Японии, к которой, в первую очередь, относятся буддийские песнопения
сёмё и придворная оркестровая музыка гагаку. Японская традиционная
музыка близка к звукам природы, часто в ней слышится трель птиц, ду-
новение ветра, шум дождя.
Гагаку является древнейшим уникальным исполнительным искус-
ством при императорском дворе Японии и включает в себя музыкальные
и танцевальные стили различных стран Востока. Музыка гагаку подраз-
деляется на инструментальную кангэн, танцевальную бугаку и вокаль-
ную утаимоно. Буддийские песнопения сёмё появились в Японии с при-
ходом буддизма более 1000 лет назад, исполнялись буддийскими мона-
хами и оказали огромное влияние на образ японской национальной му-
зыки.
Современная музыка Японии не менее разнообразна и интересна и
включает в себе все популярные музыкальные стили от рока, рэпа и т. д.
до поп музыки.
Для слушателя из России наиболее понятен и приятен для восприя-
тия японский рок, в силу того, что остальная современная японская му-
зыка своеобразна. Японский рок сложился из американского рока, кото-
рый японцы переняли и переделали на свой лад. В результате получился
ни на что не похожий национальный рок. Японский рок отличается
очень качественной музыкой и качественным подходом к исполнению
музыкантов, в силу жесткой конкуренции в музыкальном мире в Япо-
нии. «В музыканте все должно быть прекрасно» – под таким девизом
выходят на сцену японские рокеры. Поэтому и макияж, и временами су-
масшедшие стрижки, накрашенные ногти или эффектные костюмы точ-
но такие же атрибуты шоу, призванные развлечь зрителя.
http://japangid.ru/muzyka-yaponii
UNIT 3
LITERATURE OF JAPAN
LEAD-IN
72
1 Look at the pictures and answer the following questions:
What do you know about Japanese literature?
What are the favourite genres of Japanese literature?
What are the traditional genres of Japanese poetry?
Have you ever read the books, written by a Japanese author?
What was your impression?
What famous Japanese writers can you enumerate?
READING
3 Read the text. For questions 1-7 choose the best answer, A, B, C or
D.
Types of Japanese Poetry
Renga
Throughout history, Japanese poetry was continually changing. Over
time, a technique developed so that two poets could enjoy creating one poem
at the same time, this concept was known as the Renga. The idea behind the
Renga is that one poet writes a section on their own ideas and the next poet
adds the next section. Two poets combining their own ideas forming one
poem, soon became a popular pass time and a form of entertainment. Many
people thought of Renga as playing a competitive game. In order to partici-
pate in this game-like fashion, being a fast thinker with a good sense of hu-
mor was a requirement. People had parties were they used this form of entert-
73
ainment. Renga poems are known to be longer than other types of Japanese
poetry and they can reach up to 100 verses. Renga poetry is a fun form of
entertainment that anyone can enjoy.
Haiku
The form of Haiku poetry originated from the Renga. The Haiku is a
type of Japanese poetry that is short in length and has been around the long-
est. Basho, the famous Japanese poet, contributed to making this type of po-
etry well known. Even though it's survived all these years, people still enjoy
writing this form of poetry today.
The structure of the Japanese Haiku has changed tremendously over-
time. In the 15th century, the original form contained up to one hundred
verses. Each verse still had a specific number of syllable, similar to the
Renga. The first Haikus were created by two poets working together on one
poem. The more recent Haiku consists of 17 syllables. Over time, the Haiku
has changed it's structure, but one thing that has never changed is the set
number of syllables.
Need some help and ideas to create your Haiku? In order to write a
Haiku you must be in a state of relaxation. You might want to listen to some
Japanese inspirational music to help your ideas start flowing. Haikus can be
written about anything. Most people write their Haikus on nature and their
daily lives. The three lines of the Haiku create a feeling which describes a
poet's emotions.
Tanka
Another type of Japanese poetry is the Tanka. It's older than the famous
Haiku, but not as well known. The Tanka has been a well known type of po-
etry in Japan for about 1300 years. After every special event or occasion a
Tanka was written about the event. Tanka tends to be longer than the Haiku
so it allows the poet to express his or her feelings in more depth. Typically
the Tanka is written about one's feelings. In order to write this type of poetry,
one must write about something they have a great love for and are passionate
about. For example, nature, a place, family, a loved one, or their own daily
life, most likely whatever you feel is right. A well written Tanka creates a
vivid image which is related to emotions. This type of poetry gives poets the
opportunity to express their own feelings in a unique way.
http://library.thinkquest.org/C0126526/history.html
1. Renga was created …
A) when a poet was alone.
B) by two persons, in a pair.
C) by a group, consisting of several people.
D) by women.
74
2. In order to participate in writing Renga,
A) you need to work at the theatre.
B) you should be able to make rhymes.
C) you need to count very quickly.
D) you should think fast and have a good sense of humor.
4. Basho is …
A) a famous type of Japanese verse.
B) a famous Japanese poet.
C) a place in Japan, famous for its verses.
D) an ancient Japanese epos.
Matsuo Basho
A caterpillar A bee First snow
75
A caterpillar, A bee First snow
This deep in fall Staggers out Falling
Still not a butterfly Of the peony On the half-finished
bridge
http://www.poetrysoup.com/poet/Matsuo_Basho
Kobayashi Issa
76
we are busy with preparations for it. After that, there remains only the jour-
ney itself, which is nothing but the process by which we lose our ownership
of it. This is what makes travel so utterly fruitless."
Twenty-six years later, Mishima, intense and disturbed as ever, and in
complete 'possession' of his life, committed suicide in a shocking and interna-
tionally-reported public event. He was forty-five.
http://www.imdb.com/name/nm0592758/bio
VOCABULARY
6 Fill in the correct word(s) from the list below in the proper form.
77
7. Our company has … in the development of our native town, and we hope
that this action will … a lot of other companies to do the same.
8. The President was … by the crowds of people, gathering in the hall.
9. Our society needs to … with terrorism, if we want to live in peace.
10. The heroes of ancient legends fought with enemies and died ….
A B
1. to vanquish 1. huge
2. obsession 2. occasion
3. enormous 3. to achieve
4. relaxation 4. to accomplish
5. to conceal 5. inhibition
6. event 6. rest
7. to commit 7. to cry
8. to bemoan 8. to conquer
9. to reach 9. to hide
10. suppression 10. mania
78
9 Read the text and put the words into the correct forms.
The Meiji era marks the 1____ of Japan to the West, 1 to re-open
and a period of rapid 2_____ The introduction of 2 industry
3 ______ literature brought free verse into the 3 Europe
4 ______ repertoire; it became widely used for longer 4 poetry
works embodying new intellectual themes. Young Ja-
panese prose 5 _______ and dramatists have struggled 5 to write
with a whole galaxy of new ideas and artistic schools,
but novelists were the first to 6 _____ assimilate some 6 success
of these concepts. A new colloquial literature devel-
oped centering on the "I novel," with some 7______ 7 usual
protagonists. Shiga Naoya, the so called "god of the
novel," and Mori Ogai were instrumental in 8_____ 8 to adapt
Western literary conventions and techniques. Akuta-
gawa Ryunosuke is known especially for his 9_____ 9 history
short stories.
http://www.gojapango.com/culture/japanese_literature.html
10 Match the numbers (1-10) with the letters (A-J), then join the
sentences.
1. Manga (comic books) have pene- A all flourished in urban Japan in the
trated 1980s.
2. Popular fiction, non-fiction, and B the Japanese experience in modern
children's literature terms without using either interna-
tional styles or traditional conven-
tions
3. Avant-garde writers, such C from crime to politics.
as Kōbō Abe, wanted to express
4. Haruki Murakami is one of the D almost every sector of the popular
most popular market.
79
5. In Japanese fiction, plot develop- E which led to the development of a
ment and action warrior class.
6. Non-fiction covers everything F and controversial of today's Japa-
nese authors.
7. Cell phone novels, written by and G Japanese had no writing system.
for cell phone users, appeared
8. Japan experienced many civil H through the diffusion of Buddhism
wars during the Medieval period, in Japan.
9. Before the introduction I in the early 21st century.
of kanji from China,
10. Indian literature also had an in- J have often been of secondary inter-
fluence on Japan est to emotional issues.
http://en.wikipedia.org/wiki/Japanese_literature
TRANSLATION
80
9. Старинный классический роман на протяжении веков являлся
гордостью и славой японской литературы.
http://www.japanes-page.kiev.ua/rus/hobby-literature.html
Literature during this time was written during the largely peaceful Toku-
gawa Period (commonly referred to as the Edo Period). Due in large part to
the rise of the working and middle classes in the new capital of Edo (modern
Tokyo), forms of popular drama developed which would later evolve into
kabuki. The kabuki dramatist Chikamatsu Monzaemon became popular start-
ing at the end of the 17th century. Matsuo Bashō, best known for Oku no Ho-
somichi (奥の細道, 1702: a travel diary variously rendered 'Narrow Road to
the Far North', 'Narrow Road to Oku', and so on into English), is considered
to be one of the first and greatest masters of haiku poetry. Hokusai, perhaps
Japan's most famous wood block print artist, illustrated fiction aside from his
famous 36 Views of Mount Fuji.
Many genres of literature made their debut during the Edo Period, helped by
a rising literacy rate that reached well over 90% (according to some sources),
as well as the development of a library system. Ihara Saikaku might be said
to have given birth to the modern consciousness of the novel in Japan. Jip-
pensha Ikku wrote Tokaido chuhizakurige (東海道中膝栗毛), a mix of trav-
elogue and comedy. Ueda Akinari initiated the modern tradition of weird fic-
tion in Japan with his Ugetsu Monogatari, while Kyokutei Bakin wrote the
extremely popular fantasy/historical romance Nanso Satomi Hakkenden.
Santō Kyōden wrote tales of the gay quarters until the Kansei edicts banned
such works. Genres included horror, crime stories, morality stories, comedy,
often accompanied by colorful woodcut prints.
http://www.gojapango.com/culture/japanese_literature.html
An old man named Takahama lived in a little house behind the cemetery
of the temple of Sozanji. He was extremely amiable and generally liked by
his neighbors, though most of them considered him to be a little mad. His
81
madness, it would appear, entirely rested upon the fact that he had never mar-
ried or evinced desire for intimate companionship with women.
One summer day he became very ill, so ill, in fact, that he sent for his
sister-in-law and her son. They both came and did all they could to bring
comfort during his last hours. While they watched, Takahama fell asleep; but
he had no sooner done so than a large white butterfly flew into the room and
rested on the old man's pillow. The young man tried to drive it away with a
fan; but it came back three times, as if loath to leave the sufferer.
At last Takahama's nephew chased it out into the garden, through the
gate, and into the cemetery beyond, where it lingered over a woman's tomb,
and then mysteriously disappeared. On examining the tomb the young man
found the name "Akiko" written upon it, together with a description narrating
how Akiko died when she was eighteen. Though the tomb was covered with
moss and must have been erected fifty years previously, the boy saw that it
was surrounded with flowers, and that the little water tank had been recently
filled.
When the young man returned to the house he found that Takahama had
passed away, and he returned to his mother and told her what he had seen in
the cemetery.
"Akiko?" murmured his mother. "When your uncle was young he was
betrothed to Akiko. She died of consumption shortly before her wedding day.
When Akiko left this world your uncle resolved never to marry, and to live
ever near her grave. For all these years he has remained faithful to his vow,
and kept in his heart all the sweet memories of his one and only love. Every
day Takahama went to the cemetery, whether the air was fragrant with sum-
mer breeze or thick with falling snow. Every day he went to her grave and
prayed for her happiness, swept the tomb and set flowers there. When Taka-
hama was dying, and he could no longer perform his loving task, Akiko came
for him. That white butterfly was her sweet and loving soul."
http://www.pitt.edu/~dash/japanlove.html
WRITING
14 Read the text below and write the annotation to the text.
No Escape
82
scored by Toru Takemitsu. Each of the seven subsequent novels that Abe
wrote before his death, aged 68, in 1993 earned him plaudits as a writer of
the avant-garde and sales of over 100,000 in Japan alone.
In Abe's novels, plot and character are usually subservient to idea and
symbol. This makes «The Woman in the Dunes» something of an anomaly.
Its plot is devious, addictive yet straightforward. An amateur entomologist ar-
rives in a remote area of sand dunes with hopes of identifying a type of sand
beetle. Night falls and the villagers offer him shelter in a ramshackle house at
the bottom of a funnel-shaped pit of sand. Descent is possible only by means
of a rope ladder. The occupant of the house, a young woman, spends most of
the night shovelling sand into buckets, which are then raised by the villagers:
her house is one of a bulwark that prevents the village being swallowed by
the advancing sand dunes. When he awakes, the man finds the rope ladder is
gone. His attempts to climb out of the pit repeatedly fail, and he comes to re-
alise, first with incredulity, then outrage, then fear, that he is now a conscript
in this Sisyphean labour. Nor is he the first outsider to be press-ganged into
the battle against the encroaching dunes: but the villagers allow inadequate
specimens to die, rather than risk detection by the distant authorities.
The novel pits the man's will to escape this sun-fried nightmare against
the villagers' will to keep him where he is, and it is never less than compul-
sive. Abe populated his novels with loners, doctors, loner-doctors, maudlin
scientists and shifty vagrants who tend to be delineated more by what they
think or the ideas they symbolise than by a fleshing out of personal histories.
He names his characters with apparent reluctance. In «The Woman in the
Dunes» the protagonist's name - Niki Jumpei - is revealed on a missing per-
sons form filed by his mother, but for the most part he is simply "the man".
Likewise, the eponymous woman is simply "the woman". This lends its sub-
jects an archetypal quality and an independence from Japanese culture, but
risks making the characters seem sterile, abstract and difficult to empathies
with. «The Woman in the Dunes», however, manages to avoid this. Its pro-
tagonist could by no means be described as endearing, but he is plausible
enough for the reader to believe in and care about.
Sand is the prison: literally, symbolically; and not just for the man. We,
too, must spend a lifetime doing a job as meaningless as shovelling never-
ending deposits of sand into buckets. As we read about the man's predica-
ment, existentially speaking, we are reading about our own.
http://www.guardian.co.uk/books/2006/oct/07/featuresreviews.guardianreview26
15 Read the text below and make a reference in English.
Харуки Мураками
83
Харуки Мураками - популярный современный японский писатель
и переводчик. Он родился в Киото, древней столице Японии, в семье
преподавателя классической филологии. Потом его семья переехала в
Кобе - крупный японский морской порт. Тогда же у него пробудился ин-
терес к зарубежной литературе. Учился по специальности
«классическая драма» на отделении театральных искусств университета
Васэда. В студенческие годы принимал участие в антивоенном
движении, выступал против войны во Вьетнаме.
В 1974 году открыл свой джаз-бар «Питер Кэт» и продержал его 7
лет. После закрытия своего джаз-бара бросил курить и начал заниматься
сразу несколькими видами спорта. Ежегодно по два-три раза участвует в
марафонских забегах в самых разных городах мира
В апреле 1974 года во время бейсбольного матча понял, что мог бы
написать книгу. До сих пор не знает, почему именно. По словам самого
Мураками: «Я просто понял это — и всё».
В 1979 году опубликована повесть «Слушай песню ветра» — пер-
вую часть «Трилогии Крысы». Получил за неё литературную премию
«Гундзо синдзин-сё» — престижную награду, ежегодно присуждаемую
журналом «Гундзо» начинающим японским писателям. А чуть позже —
премию «Нома» от ведущего литературоведческого журнала «Бунгэй» за
то же самое. Уже к концу года роман-призёр был распродан неслыхан-
ным для дебюта тиражом — свыше 150 тысяч экземпляров в твёрдой об-
ложке.
Народное признание на родине и финансовое процветание пришло
к Харуки с публикацией в 1987 году романа «Норвежский лес», продан-
ного тиражом в 2 миллиона копий. Этот роман был написан во время
длительного путешествия Мураками в Грецию и Рим. Именно эта книга
утвердила его славу не только в Японии, но и в других странах. «Нор-
вежский лес» по праву считается одним из самых лучших романов Ха-
руки Мураками.
Мураками любит путешествия, а проведя три года в Греции и Ита-
лии, он приехал в США и обосновался в Принстоне, где преподает в
местном университете. За последние 25 лет перевел на блестящий
японский произведения Фитцджеральда, Ирвинга, Сэлинджера, Капоте,
Пола Теру, Тима О'Брайена, все рассказы Карвера, а также сказки Ван
Альсбурга и Урсулы Ле Гуин.
Выпустил несколько «гурманских» фотоальбомов и путеводителей
по западной музыке, коктейлям и кулинарии. До сих пор любит джаз, и
84
хотя «в последнее время классики стало больше», известен своей кол-
лекцией из 40.000 джазовых пластинок.
http://bookmix.ru/authors/index.phtml?id=15)
85
PART III SOUTH AND NORTH KOREA
UNIT 1
THEATRE AND CINEMA OF KOREA
LEAD-IN
1
1 Answer the questions.
What is Korean culture famous for?
Does the culture of South and North Koreas differ?
What national composers, dancers, directors, and actors do you know?
Do you know anything about the performances in the pictures?
86
Kkoktukaksi concubine kyabang dances Salpuri
and the Monk’s Dance Talchum Pansori Daehakro
READING
The development of South Korean theatre and dance in the 20th century
has been dominated by two, apparently contradictory trends. On the one
hand, Western influence has been adopted and adapted enthusiastically,
while, at the same time, serious attempts have been to study and revive ori-
ginal forms of the Korean performing arts.
These seemingly completely opposing trends have, in fact, created a
fruitful basis from which a new kind of aesthetics, at the same time interna-
tional and modern as well as instinctively Korean, has grown.
Spoken Theatre
Western-type spoken theatre found its way to Korea via Japan, where
many Korean intellectuals studied during the Japanese occupation in the early
20th century. Even after the occupation the contacts between the countries re-
mained close.
As in Japan, so too in Korea, among the earliest staged Western dramas
were plays by Shakespeare, Ibsen, and Strindberg. The first productions re-
flected Western stage realism and even naturalism. Later the repertoire also
included plays by Maeterlinck and O’Neill. Later the expressionism was ad-
apted to Korean theatre, again through Japan.
The rise of the Korean drama literature began in the1930s. An important
pioneering work was The Clay House, written by Yu Chi-jin in 1934. It dis-
creetly hinted at a politically extremely sensitive topic, the Japanese occupa-
tion of Korea.
At that time Japanese censorship dictated much of the contents of art.
The renaissance of Korean culture began when the occupation ended in 1945.
The Korean National Theatre, the first of its kind in the whole of Asia, was
founded in 1950. Somewhat later the first Western-type theatre hall with a
proscenium stage, sponsored by the Rockefeller Foundation, was built in
Seoul. Gradually, large theatre houses and cultural centres have mushroomed
all over the country.
The official cultural policy in the 1960s focused on the revival of
Korea’s own cultural heritage. Both the important forms of the traditional
performing arts and their praiseworthy performers were proclaimed “National
Cultural Treasures”.
87
Many of the traditional forms of music and dance were adapted to the
huge, modern stages by multiplying the dancers and the musicians. Experi-
ments were also made by combining features of the traditional theatrical arts,
such as masks, with modern stage aesthetics. In the field of Western spoken
theatre, avant-garde and absurd dramas gained popularity.
Strict political censorship overshadowed the cultural life of the 1970s
and the early 1980s. All political topics were forbidden. Sensitive themes
were sometimes touched upon in the form of a physical, Artaud-inspired, al-
legorical style.
The 1970s was the beginning of the triumph of American musicals in
Korea. The influence of the United States is also felt in the teaching of arts,
which, to a great extent, follows the American models.
http://www.xip.fi/atd/korea/south-korean-theatre-and-dance-in-the-20th-century.html
4 Read the text and decide, if each statement (1-5) is true or false.
Trends in Dance
The most famous of the kyabang dances, Salpuri and the Monk’s Dance,
were created at the beginning of the 20th century by a famous dancer, Han
Song-jun. They were based on traditional material, although they were meant
to be performed on a modern stage. These early 20 th century dances are still
very popular, while new generations of dancers give them new emphases.
Just as in the case of modern spoken theatre, Korean modern dance ar-
rived in Korea, during the Japanese occupation, from Japan. The “father of
modern dance” in Japan was Baku Ishihi, who was inspired by the German,
expressionistic Ausdrucktanz. The Korean students who had been his pupils
are credited as pioneers of the modernistic movement in Korean dance.
Possibly the most famous of Baku Ihsihi’s Korean students was the le-
gendary beauty Choe Sunghui, who, following her teacher’s advice, started to
formulate a modern dance style, which still echoed the Korean tradition.
Later, Choe Sunghui moved to North Korea.
88
The dance life in South Korea has clearly two, almost contradictory
trends. On the one hand, traditional forms of dance are carefully studied and
performed while, on the other hand, the art universities teach dance much ac-
cording to American models, including the Graham technique.
New concepts have been coined, such as “creative dance”, meaning
completely new creations employing different techniques, and “creative
Korean dance”, which refers to basically Korean forms of dance although, for
example, adapted for large, modern stages.
“Korean creative dance” has been widely propagated by the dance de-
partments of art universities. Several choreographers have been active in this
field, such as Mun Il-jo, Kwi-ja, and Kim Mae-ja.
There are numerous dance companies in South Korea. The National
Dance Troupe was founded in 1962. The classical ballet group was separated
from it to form its own independent troupe in 1973, and nowadays Korea pro-
duces many top quality ballet dancers, who are appreciated around the world.
The Seoul Dance Festival was founded in 1973.
VOCABULARY
89
течения
7 find one’s way to smth via smth G Быть признанным и при-
способленным к
8 hint discreetly at H Создать плодотворную
базу
9 censorship I Противоположные течения
10 overshadow the cultural life J Исполнительские виды ис-
кусства
11 give smth new emphases K возрождаться
90
sae (Korean:), verbal sounds. A chuimsae can be a simple meaningless (diph-
thong/vowel/sonorants)_____6, but short words of encouragement are also
given. The (viewers/spectators/audience)______7 is also supposed to give
chuimsae during the performance, similar to kakegoe and the shouts of "Ol?"
during flamenco performances.
Pansori has been compared in (influence/impact/effect_____ 8) to the
American Blues. There are various singing styles, such as the more "femi-
nine" sopyonje of south-western Korea (inspiration of the film Sopyonje Ko-
rean:) and the more "masculine" tongp'yonje Korean:
http://en.wikipedia.org/wiki/Pansori
9 Match the numbers (1-8) with the letters (A-I), then join the sen-
tences.
Korean Theatre is very vibrant today: being one of the largest musical
markets and the country that brings us some of the delightful Kpop bands that
are at their truest hearts theatrical machines.
1 Prior to the 19th century A is supported by chanters, mu-
sicians and a chorus.
2 Pansori, a Korean opera, where a B uses the medium to exploit a
central main character's journey social issue.
3 Talchum a Masked Drama, C there were basically two
which was more politcal in types of Korean theatre
nature,
4 Pansori tells a story, D are not necessarily theatre,
such as Namsadang which is
Korean Circus.
5 The main difference between the E is a mixture between song,
Talchum and the Pansori dance and poetry
6 Talchum has a larger cast and F to entertain the emperor and
his family.
7 There are also things that are re- G although most of the stories
lated to theatre in Korea's theatre do have an underlying theme
history that to them.
8 It was created during the Joseon H is subject matter and cast
Dynasty size.
91
After the 19th Century the art form began to develop. The first indoor
theatre called the Hypolyul-sa was built in 1902. Shakespeare and other west-
ern dramas were introduced around this time and performed on this stage.
There are now three directions that the modern Korean theatre takes:
1. Government supported theatre: through grants, typically performed at the
National Theatre in Seoul.
2. Daehakro (off, off broadway): independently funded and supported by
local producers, more avant-garde work.
3. Popo (Popular Theatre or Regional Theatre): individually run companies
that buy and produce in their own location. Extremely similar to American
Regional Space.
http://www.hkeld.com/articles/view/korean-theatre-for-dummies
10 Read the article and choose the right word to fill in each gap.
92
7. A concept B content C conduct D contest
8. A moulded B formed C honed D shaped
9. A reined B dominated C presumed D overwhelmed
10. A move B stir C lift D shift
TRANSLATION
Chan E. Park
Based on their own concept of what “play” (nori) is, Koreans had for
generations cultivated styles of storytelling and enactment such as p’ansori,
t’alch’um, and other folk as well as ritual performances.
In the beginning of the twentieth century, Koreans were exposed to the
Western concepts of play, namely, drama and theatre . Often interchangeable,
the terms are to be distinguished: drama as literature designed for enactment,
and theatre, an art of enactment. With the new import, Koreans broke loose
from their indigenous resources to diversify their theatrical experiences.
Throughout the twentieth century, the efforts to model after Western drama
and theatre by translating or adapting them in Korean continued.
Sampling and shadowing outside influences continue to dominate the
mainstream Korean stage into the twenty-first century. In the domain of p’an-
sori, singers attached to the central and regional government -run centers con-
tinue their work s to preserve the art and to creatively develop ch’angg?k ,
p’ansori drama , simultaneously.
From yet another angle, some playwrights and directors since the 1960s
began to incorporate into their works the indigenous Korean traditional theat-
ricalities .
First it was mostly the satiric function of the characters and situations
from the t’alch’um tradition , then characters and contexts from such indi-
genous healing rituals as Princess Pari and ssitkimkut were recruited or re-
constructed .
Fusing or mixing old with new, native with foreign, art with technology,
are now some of the routine practices on Korean stage aspiring to be recog-
nized as “national brand.” This paper attempts to historicize and critique the
twentieth century search for Korean theatrical modernity, and the challenges
encountered between tradition and modernity, convention and freedom from
convention, and storytelling and story – enacting among others.
http://www.gwu.edu/~eall/hms/hms19/abstracts/cp_abstract.pdf
WRITING
93
12 Read the text below and write the annotation to the text.
94
13 Render the text from Russian into English
Рождение театра
95
должна были организовать представления для короля и придворных, то
есть заниматься тем же, чем дворцовые певицы и танцовщицы занима-
лись в Корее на протяжении столетий. Однако уже изначально предпола-
галось, что некоторые представления будут открыты и для публики, ко-
торая будет покупать на них билеты. В этом случае первые корейские
театральные менеджеры вполне сознательно подражали западному опы-
ту. Первый спектакль (или, точнее, концерт) для частной публики состо-
ялся в декабре 1902 года.
В театре Хёпрюльса имелось около 500 мест, которые делились на
три разряда. Самыми дорогими считались "жёлтые" места. Билет на та-
кое место стоил 1.00 вону (в те времена чиновник средней руки зараба-
тывал 20 вон в месяц). "Красные" места продавались за 0.70 воны, а са-
мые дешёвый "зелёные " (или "синие" – оба цвета обозначаются одним
иероглифом, а цветных фотографий зала не существовало) стоили 0.50
вон.
Однако Хёпрюльса был театром специфическим – в нём поначалу
вообще не ставили пьес! Все его выступления в наше время считались
бы «концертами». На его сцене танцевали красавицы кисэн, появлялись
исполнители традиционных баллад пхансори. Именно театр Хёпрюльса
стал местом, где кинофильмы были в первый раз показаны большой ко-
рейской аудитории. Кинопроектор был по тем временам машиной небез-
опасной, так что во время одного из таких сеансов случился пожар. Всё
обошлось, но некоторое время театр Хёпрюльса был закрыт.
Затем его здание некоторое время использовалось как клуб для чи-
новников. Однако это длилось недолго. В начале 1908 года здание опять
стало театром, и на сей раз в нём стали действительно ставить пьесы.
http://lankov.oriental.ru/d123.shtml
KOREAN CINEMA
96
2
READING
Only fragments remain of Korea's early film history. The vast majority
of Korea's early film footage was lost due to neglect or the destruction
brought about by the Korean War, and not a single feature produced before
1934 survives in complete form today. Nonetheless, historical records paint a
picture of a lively and creative industry that produced over 160 features from
the early twenties until Japan's surrender to Allied forces in 1945.
From 1909 to 1920, a series of theatres were built in Seoul and in re-
gional cities such as Pusan and Pyongyang. Most of these theatres were
owned by Japanese businessmen, but a few Korean theatre owners built up a
significant amount of capital screening European and American imports. This
capital would eventually be used to help finance the first domestic produc-
tions. Korea's first "film" (The Righteous Revenge), a kinodrama in which
actors performed against the backdrop of a projected feature, debuted at
Seoul's Danseongsa Theater in 1919.
Korea's first silent feature was produced in 1923, and over the next few
years, seven Korean film companies would appear. The masterpiece of this
era is considered to be Na Un-kyu's Arirang (1926, pictured left). Na, only 25
years old at the time, produced, directed and starred in this film about a men-
tally unstable man who kills a wealthy landowner's son who is linked to the
Japanese police. The title is taken from a popular folk song, which in its
97
newly re-arranged form would become an anthem of sorts for the Korean
independence movement. The film, admired for its aesthetic qualities as well
as for its hidden political messages, became an inspiration for a wave of
young filmmakers who hoped to make films based on principles of realism
and resistance to Japanese power.
1945-1955
Only five films have survived from the period between the U.S. occupa-
tion of Korea and the end of the Korean War. Of them, the most famous is
Choi Un-gyu's Chayu Manse! ("Hoorah! Freedom"), released in 1946. An
ode to patriotism with strong anti-Japanese sentiments, the film proved to be
a hit with audiences.
During the Korean War, much of the country's film re-infrastructure was
destroyed and the centre of the industry temporarily moved to Busan. Many
filmmakers became involved in shooting newsreels and war documentaries.
Following the armistice agreement in 1953, President Rhee Syngman de-
clared cinema to be exempt from all tax, in hopes of reviving the industry.
Foreign aid programs provided South Korea with film technology and equip-
ment, setting the stage for the rebirth of Korean cinema in the late-fifties and
sixties.
1955-1969: A Golden Age for Korean Cinema
The latter half of the 1950s can be considered a period of revival for the
Korean film industry, as the number of domestic productions increased from
8 in 1954 to 108 in 1959. The public also returned to the theatres, embracing
such features as the now-lost 1955 version of Chunhyang-jeon, which drew
200,000 viewers in Seoul (over a tenth of the city's population), and Madame
Freedom (1956), based on a scandalous novel that had been published the
year before in a local newspaper.
The late 1950s and early 1960s saw the emergence of some of Korea's
most talented directors. These filmmakers worked during a time when the do-
mestic film industry enjoyed an unprecedented surge in box office receipts.
However in 1962, military dictator Park Chung Hee instituted a highly con-
strictive Motion Picture Law which caused a severe consolidation in the
number of film companies, and which strengthened government control over
all aspects of the industry. Although accomplished films continued to be
made up until the end of the decade, such restrictive policies would ulti-
mately have a severe effect on the industry's creativity.
The 1970s
In the seventies, the film industry entered a long period of declining ad-
missions and increased levels of government censorship. In 1973 the Korean
Motion Picture Promotion Corporation (the precursor to the Korean Film
98
Council) was formed in an effort to revive the industry, and in the following
year the Korean Film Archive was founded, but as an industry Korean
cinema would not reverse its commercial slide until the mid-1990s.
1980-1996
In the 1980s, the Korean film industry undertook the first steps of a ma-
jor transformation with several important developments. Firstly, military
leader Roh Tae-woo enacted a new constitution in 1988 which led to the
gradual easing of political censorship. One early film to take advantage of
this was Park Kwang-soo's Chilsu and Mansu (1988), which cleverly invokes
images of a street demonstration in its memorable final scene. Park would go
on to direct more acclaimed films, such as Black Republic (1990), To the Starry
Island (1993) and A Single Spark (1995).
Meanwhile back in 1984, a revision to the Motion Picture Law loosened
some of the regulatory restrictions on Korean filmmakers. Independent pro-
duction, which had formerly been illegal, was permitted under certain cir-
cumstances, and the government also repealed laws which had kept the film
industry consolidated under a few large companies. The end result of this is
that by the late 1980s a new generation of young producers had entered the
film industry, and their new approaches to filmmaking would eventually have
a major effect on Korean cinema.
1996-present
However beginning in 1996, a new generation of directors began to take
over the industry. Arthouse master Hong Sang-soo made his debut with the
award-winning The Day a Pig Fell Into the Well (1996, pictured right), which
weaves the experience of four characters into a single story. In this and his
subsequent films, Hong built a reputation for his honest depiction of the
cruelty and baseness of human relations. The year 1996 also saw the debut of
controversial filmmaker Kim Ki-duk, known for his rough but visually strik-
ing film style (largely self-taught) and his tendency to shoot films very
quickly on a shoestring budget. Unlike most other leading Korean directors,
Kim's films such as The Isle (2000) were first championed internationally,
rather than by local critics. Then in 1997, Lee Chang-dong made his debut
with Green Fish. A former novelist, Lee would eventually win a Best Director
award at Venice for Oasis (2002), and also served as Korea's Minister of
Culture and Tourism from 2003-2004.
At the same time, a group of younger, more commercially minded film-
makers were also making their debut. In 1997, the release of the hit film The
Contact by Chang Yoon-hyun marked a resurgence of box-office popularity
for domestic features, leading up to the unprecedented success of Kang Je-
gyu's 1999 film Shiri. Since then, Korea has entered a boom period that ranks
99
as one of the most sudden and notable developments in recent world cinema.
Local audiences have rushed to embrace local films, so that by 2001 the 60-
70 Korean films made each year sold significantly more tickets than the 200-
300 Hollywood and foreign titles that were released. In the international
arena as well, festival screenings and international sales expanded at
breathtaking speed, as more and more directors began to make a name for
themselves.
One could argue, however, that the current boom being enjoyed by
Korean cinema is less of an extraordinary circumstance, than a case of the in-
dustry finally reaching its natural state. Since its earliest beginnings, Korean
cinema has been hampered by Japanese colonization, national division, civil
war, authoritative military governments, strict censorship, and highly restrict-
ive, distorting film regulations. Only in the 1990s did Korean cinema finally
enjoy a supportive government, a stable economic environment and a sens-
ible film policy. Although the amazing commercial boom that has powered
the film industry in recent years may well fade to more modest levels, one
hopes that Korean cinema will never again face such extreme disruptions as it
did in the 20th century.
http://koreanfilm.org/history.html
2 Fill in the table.
Periods Types of Titles of the Directors Specific
films most features
prominent
films
Vocabulary
100
4 Match the phrases with their translation.
101
3. Для того, чтобы остановить коммерческое падение, киноинду-
стрия была освобождена от уплаты налогов.
4. Сдерживающим фактором развития киноиндустрии служили
чрезмерно строгие инструкции и нормативы.
5. Во время Корейской войны многие режиссеры отдавали все
силы выпуску кинохроники и документальных фильмов.
6. . Причиной экономического спада стал неуправляемый рост ин-
фляции.
7. Многие выдающиеся ленты первых немых фильмов были поте-
ряны или уничтожены в годы Корейской войны.
8. Каковы будут дальнейшие шаги правительства по сдерживанию
экономического падения и задержки темпов роста?
102
refugees from North Korea, of being separated during war, of leaving the
farms and moving to the cities, and even emigrating to faraway countries to
start new lives. Korean moviemakers entered their works in international film
festivals, winning awards in the Asian region and then in world competitions.
103
рой современного мирового общества. Корейское кино изменилось в
лучшую сторону. Благодаря неустанным стараниям корейских режиссе-
ров, фильмы обрели интересный сюжет и жанровую разноплановость,
что в конечном итоге изменили отношение отечественных зрителей к ко-
рейскому кино. Зрители, расставшись с устоявшимся мнением о слабо-
сти постановки и малоинтересном сюжете корейского кино, проявляют
все больший интерес к отечественной киноиндустрии.
http://world.lib.ru/i/ibraewa_z_n/massowajakulxtura.shtml
UNIT 2
MUSIC OF KOREA. TRADITIONAL MUSICAL INSTRUMENTS
LEAD-IN
1 Match the pictures of the musical instrument with the titles
2
6
3
7
4
104
Changgo Kayagum Piri
Senap Yanggum
Choktae Tanso
Hae Gum
8
http://www.hartford-hwp.com/archives/55a/176.html
105
and finally to a carefully selected site on a hill above the village for burial.
The prescribed ritual gave everyone a role to play and impressed upon the
participants the importance of family life and community support. Among the
important lessons for the children was the inculcation of music as a part of
life and death.
In 1978, a musician named Kim Toksu started a percussion troupe called
SamulNori (meaning "Four Things Playing") that uses a kkwaenggwari
(small gong), a ching (large gong), a changgo (hourglass-shaped two-head
drum), and a puk (barrel drum). SamulNori compressed the many players of
farm music bands into a four-musician troupe, creating a kind of musical
"team." The word samulnori quickly became the generic word for this kind of
combination, which remains wildly popular across Korea and has toured the
world introducing other people to Korea's elegant and intricate rhythms.
http://www.hartford-hwp.com/archives/55a/176.html
1. What is Nongak?
2. What is the role of rhythm in Nongak?
3. How did the rhythms differ?
4. What is Kim Toksu famous for?
5. Which instruments were there in the percussion troupe?
6. What does the word “samulnori” mean?
Folk music is related to folk dancing and folk drama, genres that come
together in the much-loved dramatic form of mask dance dramas. These are
vestiges of village festival entertainment that go back as far as the Silla king-
dom. Though it began as a form of court entertainment, it evolved into a dis-
tinctly plebeian type of theater that nearly died out before being revived in
the national effort at cultural recovery in the late twentieth century. There are
only a few types of mask dramas. One, called sandae, has an all-male cast
who change masks to play the various characters in scenes that detail the mis-
adventures of a typical yangban nobleman, his wife, his concubine, and an
assortment of villagers and monks who are supposed to be celibate but are
actually very interested in women. This combination makes for many running
jokes, giving the audience much merriment. Accompanying the action and
dialogue is a musical troupe that plays and chants and sings folk songs, Bud-
dhist music, and other religious incantations and shamanist invocations.
Like the equally famous mask dance that is performed in the village of
Hahoe, near Andong in southeastern Korea, the performance was designed to
106
be a holiday event to amuse rural people taking a rare break from toil in the
fields. The dramas, which were long and drawn out and full of jokes and
satirical references familiar to the onlookers, were intended to consume an
entire afternoon. The plots were rather disjointed but the actors made up for
this by their generous use of slapstick and exaggerated dialects and gestures.
VOCABULARY
107
4. Основной заслугой дирижера можно назвать то, что ему уда-
лось собрать состав уникальных музыкантов и оставить записи народ-
ных произведений для следующих поколений.
5. К сожалению, современная молодежь считает национальную
культуру и народную музыку, чем-то вроде пережитком прошлого.
6 Read the article and choose the right word to fill in each gap.
108
The words to "Arirang" are amusing because of their ______4
(rouser/numero uno/petulance), but it is the haunting melody that ______5
(enchants/enraptures/enthuses) Koreans and has inspired variations and
elaborations so that there is a special version of the song for many of Korea's
different regions and counties. Composers have written adaptations for every-
thing from brass______6 (ensembles/bands/groups) to full orchestras.
WRITING
9 Read the text below and write the annotation to the text.
109
whether the k_mun’go had originally been modelled on the qin might not
seem very important. In those days when music was no mere source of pleas-
ure but a governing principle of the country itself, a musical instrument like-
wise was more than a tool for making sound. The Chinese qin was played not
for personal amusement but for the cultivation and edification of the charac-
ter. This aesthetic concept of the ancient qin has dominated the aesthetics of
the Korean ruling class from the time when Kim Pusik wrote the History of
the Three Kingdoms right down to modern times: all that changed in Korea
was that the k_mun’go replaced the qin. Thus, from Kim Pusik’s point of
view , wherever the k_mun’go originally came from, it was to be described in
relation to the Chinese qin. Despite its long history, the deep aesthetic tradi-
tion of the qin is now lost in China, while the k_mun’go holds a pre-eminent
place among traditional Korean instruments, and continues to be well loved
by Koreans. Moreover, those who seek to preserve the ancient aesthetics of
the k_mun’gostill use it as an instrument of self-cultivation.-III-Korea’s me-
dieval period can be said to extend from the Kory_ dynasty (918-1392) to the
middle of the Chos_n era (1392-1910). The most important musical activities
in this period took place in connection with national events centred on the
royal court, and among these, especially noteworthy is the importation of
Confucian ritual music (aak) from China. In this medieval period, and espe-
cially in the Chos_n era, the ruling ideology of the state was Confucianism.
Having overthrown the previous dynasty and established a new one, the
rulers felt the necessity not only to justify their own revolution and stabilize
public sentiment, but also to win the support of their powerful neighbour
China. Accordingly, they adopted an ideology that met the needs of the time,
the Chinese doctrine of ceremony (yeak). Representing a Confucian view of
music, this doctrine of ceremony had been the dominant theory of music in
China since the beginning of the Han dynasty (206 B.C.)The Confucian view
of music that this doctrine of ceremony upheld was a heteronymous theory
that treated music as a tool for the highest ruler. It sought to use music to el-
evate public sentiment, improve morality and ethical sense, and edify the
people socially and politically. Of course, this Confucian approach was not
the only philosophy of music in China, but because it was well suited to an
era that respected Confucianism , it exerted a continuous influence on the
Korean peninsula over a long period. Since the nation itself was founded on
Confucian philosophy, the national rites that were considered most important
in Confucianism used music imported from China’s ancient tradition of
yayue ceremonial music. In Korean, this music is called aak. Thus, Korean
aak developed out of music imported from China to meet the needs of the
time and the nation. Aak was first introduced in the 12th century during the
Kory_ dynasty, but its golden age was in the 15th century during the reign of
110
King Sejong (1418-1450),known as Korea’s greatest monarch. In that period,
numerous scholars strove to revive the ceremonial music of China’s ancient
Chou dynasty (fell 256 B.C.), and eventually, a new aak was created and
performed as a successor to the ancient Chinese tradition. It was a great and
laborious work, since no contemporary model was available and many
Chinese literary sources had to be consulted. Almost 600 years later, this
revived version of ancient Chinese ritual music is still performed unchanged
when the rites in honor of Confucius are held twice a year at the Confucian
Temple in S_nggyun’gwan University. What is most important, however, is
that the Chinese Confucian philosophy of music exerted a profound influence
on Korean court music as a whole. As a result, in modern times the word aak
has come to be used in reference to all the music performed at court,
including the hyangak repertoire of Korean origin. But while this broad usage
of aak seems intended to tie all Korean court music to the Chinese
philosophy, the music itself is unique in style and cannot be found in China,
the original source of aak. In the traditional music performed today in China,
there is nothing resembling Korean court music. True to the musical
aesthetics of Confucianism, a music was born that was no less impressive
than it was subdued, slow, and simple in form, that was quite unlike Chinese
music, or that was at one and the same time the most Chinese and the most
un-Chinese of musics. What was special about this Korean aak was that it
arose from the music of the Korean ruling class outside the court itself.
Conceptually, this elite musical tradition had been shaped by Chinese
influence, but in its actual sounds – its melodies, rhythms, and tone colour –
it was an original Korean creation.
111
Кибань, которая продолжается под названием традиционного танца. Ко-
рейский танец произошёл от шаманского обрядового танца, затем на-
полнялся радостью, изменялся под воздействием придворных танцев,
народных и традиционных танцев. Все они легли в основу корейского
танца, существующего до нашего времени.
В 1900-е годы под влиянием западного танца, корейский танец мо-
дернизировался, способствуя появлению нового танца. В 1905 году был
открыт Национальный театр Вонгакса, в программах которого новый та-
нец исполнялся наряду с придворным и народным танцами. Однако в
1910 году японские завоеватели вернули свои национальные права и
власть, что ограничило исполнение традиционного танца рамками теат-
ров. Японский империализм гарантировал развитие нашего традици-
онного танца, но реформированный корейский танец получил своё раз-
витие на сцене после введения западного танца в 1919 году.
Лучшим исполнителем народных танцев того времени был Хан
Сунь Цюн. Он исполнял народные танцы во многих областях страны,
создал буддийский танец, танец Таепюнь и Хак. Его танцы были призна-
ны неосязаемым культурным достоянием нации. Танцы Хан Сунь Цюн
получили дальнейшее развитие под руководством его внучки Хан Юн
Сук. Среди танцевальной общественности возникла оппозиция по во-
просу интерпретации танца после обретения Кореей независимости 15
августа 1945 года. В связи со сложностью воспроизведения танцеваль-
ной лексики работа над формированием корейского танца обрела осо-
бую актуальность.
http://soundsofeurasia.baikal.net/content/2008/articles2008.pdf
112
UNIT 3
KOREAN LITERATURE
LEAD-IN
READING
P'ansori Epics
Both Yun Sondo and Kim Sujang took liberties with the syllable-count
rules of sijo, extending the line and inventing a variant form. In time, many
sijo writers did likewise, and many sijo were really drinking songs, sung by
113
revelers around a table, vying with each other for the best rendition, using
chopsticks as percussion tools on the table's edge. Their poems (or songs)
verged toward another great genre of Choson-era poetry-singing called p'an-
sori, a narrative form that seemed to have no length constraints at all.
P'ansori folk opera, as it developed in the form of a literary genre, was
an epic performance by a single singer called a kwangdae, with no props
other than a handkerchief and a fan to wield as disguises, tools, weapons, or
whatever the moment called for. Accompanied by a percussionist keeping
rhythm on a drum and punctuating the singer's points with contrapuntal
sounds of agreement, shock, encouragement, and disapproval, the p 'ansori
performer would enthrall audiences for hours with operatic versions of much-
loved folktales. P'ansori singing required a formidable vocal range, since the
performer not only had to sing but also had to express the gamut of emotions
in the voices of all the different characters in the story. The performance typi-
cally took many hours and usually left the performer (and the audience) ex-
hausted.
A good example of the p'ansori genre is the story of the girl named
Ch'unhyang, meaning "Spring Fragrance," known in Korean as Ch'un-
hyangjon. The Ch'unhyang story was ideally suited for p'ansori. The young
lovers' dilemma, their tragic separation, the arrival of the evil governor and
his abuse of the innocent heroine, Ch'unhyang's faithfulness, the suspense
about whether Yi Mongnyong would ever find out what had happened to his
wife, and his miraculous return to liberate her and punish the evildoer all
were themes that made for a highly emotional presentation, using action,
comedy, satire, many kinds of voices, and long expositions on morality and
on the arrogance of the ruling yangban as they abused common people. The
story was popular enough to be sung and told in forms other than p 'ansori,
and in modern times there have been several opera and movie versions.
3 Read the text and decide, if each statement (1-5) is true or false.
114
Women wrote fictional works, including historical novels, in the seven-
teenth and eighteenth centuries using the loan gul script that most educated
male writers tried to avoid. The authors were court ladies; that is, wives and
mothers of powerful men who had to keep their silence while observing the
cruelties and injustices of court politics. Since they were not writing for pub-
lication at the time and were in effect keeping secret diaries for their own use,
they were not bound by the rigid forms and conventions that stripped so
much of the men's writing of emotion and color. As a result, in modern times
their ban 'gul writings have reappeared as popular novels about court life, full
of characters and judgments about right and wrong. Like the Ch'unhyang
story these have made good screenplays, and television series based on them
have been wildly popular. The Tale of Queen Inhyon (Inhyon wanghujon) is
one that concerns a manipulative royal concubine who tries to remove the
reigning queen in order to get her own son in line for the throne and has to
commit multiple murders in the process. Eventually the king realizes the evil
of the concubine and has the queen restored to her rightful place.
The most famous court novel by a woman is The Memoirs of Lady Hye-
gyong (the Hanjung-nok). The writer, Princess Hyegyong (1735-1815), tells
the story of the court of King Yongjo (r. 1724-76) and the tragic fate of her
husband, Crown Prince Sado. Written in diary form, the Hanjung-nok tells
about the plots against Princess Hyegyong's husband, Prince Sado, how the
plotters convinced King Yongjo that the prince was a criminal and deserved
to die, and how the king had him locked in a box to starve to death. Like
many other Korean classics the theme of the novel is one of miscarried jus-
tice — of unfair and arbitrary treatment and the abuse of power. King Yongjo
was a great ruler but his blindness in the affair of his own son and heir was a
great national tragedy. Princess Hyegyong's written record not only kept the
historical event in the minds of the Korean people but also contributed a
work of literature that is a Korean equivalent of a Shakespearean epic in the
West.
115
6. The most famous court novel by a woman is The Memoirs of Lady
Hyegyong about the tragic fate of her husband.
7. Like many other Korean classics the theme of the novel is one of
miscarried justice.
8. Princess Hyegyong's written record can be compared to a Shake-
spearean epic in the West.
VOCABULARY
Han'gul Novels
116
Kiltong, is the leader of a band of _______ 4 (pickpockets/thieves/robbers)
who ______ 5 (set up/make up/bring in) a classless community on an isolated
island and succeed in ______ 6 (getting acquainted/making friends/getting
along) without the yangban and their laws and _______ 7
(privileges/bonuses/perks). Nearly a century later, the novelist Kim Manjung
(1637-92) wrote The Cloud Dream of the Nine (Ku'unmong), based on the
Buddhist idea of dreams and clouds that hide reality. It too concerned the
conflict between pretense and reality in the lives of the _______ 8 (govern-
ing/ruling/mastering) class.
7 Fill in the gap with the necessary form of the word from the right
column.
Modern Literature
117
the West.
8 Match the numbers (1-8) with the letters (A-I), then join the sen-
tences.
Japanese colonialism
1 These works welled up out of A writers continued to discuss the
a national soul that had been human cost of Korea's political
shattered by plight.
2 The overriding theme of B where Japanese was the language
most Korean literature in the of instruction, and "literature"
twentieth century has been classes were about Japanese, not
Korean, writers.
3 When government censors C the search for national wholeness,
blocked most avenues of ex- first under foreign rule and then,
pression, after 1945, in a divided country
with two bitterly hostile regimes
poised on the verge of civil war.
4 Simply by writing literature D it took more and more courage to
in Korean between 1910 and preserve the Korean language at
1945 they performed acts of the heart of Korean national con-
resistance, sciousness.
5 As the war years approached E the death of the monarchy and the
and Japan's grip on Korea Japanese conquest.
tightened,
6 Writers such as Ch'ae Mansik F since Korea's "national language"
and Yi Kwangsu were risking officially was Japanese, and the
a great deal to keep Korean speaking and writing of Korean
literature alive. was, in effect, an act of rejection
and even subversion against
Japan.
9 Read the article and choose the right word to fill in each gap.
When the Allies liberated and divided Korea in 1945, there was a ____ 1
moment when Korean writers thought they might be free to _____2 their own
literature in their own land. But very soon it became clear that certain kinds
of writing would be illegal, depending upon whether the writer ______ 3 in
North or South Korea. Korean literature, which had been shaped and dis-
torted by Japanese rule, now was distorted further by the needs of the two
118
Korean regimes. In North Korea, literature had to _____ 4 socialism and the
myths of Kimilsungism. In the south, left-wing writers were _____ 5. Both
sides insisted on government-approved interpretations on all portrayals of the
nation's central _____ 6, the Korean War of 1950-53. As a result, in both
North and South Korea, Korean literature continued to be a literature that was
_____ 7 from reality. Writers felt it whenever they dared not say certain
things. Readers knew it when they read stories that ____ 8 events and situa-
tions of which they had personal knowledge.
WRITING
10 Read the text below and write the annotation to the text.
Between 1945 and 1950, the Korean literary world was thrown into tur-
moil by the reckoning that followed "liberation" from Japan. Intellectuals in
general were subjected to charges and countercharges of collaboration. Being
educated, they were elite people with privileges that had come from cooperat-
ing with the Japanese. Opposed to them were writers who had risked their ca-
reers and freedom by joining left-wing groups. More than 100 of Korea's
best-known writers migrated to North Korea during this period, with some,
like Han Sorya, becoming committed supporters of the Communist regime.
South Korean writers who were associated with those who had moved north
were themselves subjected to severe political persecution, partly because of
their left-wing views and partly because of their record of friendship with the
turncoats. The names of those who went north were expunged from public
discourse. Their works were suppressed as the anti-Communist South Korean
government organized a national forgetting of what they had written before
they went, and nothing they wrote afterwards was allowed into South Korea.
119
It took many years for the literary community in South Korea to recover
from the events surrounding the Korean War. Not being able to write about
the central conflict between North and South Korea, writers in the south in-
stead wrote about earlier times under the late monarchy and the Japanese, a
genre that became known as Modern Fiction (kundae munhak). Mature writ-
ers like Oh Yongsu who had already established reputations in the 1930s led
with stories about the goodness of common farmers. Kim Tongni (1913-)
wrote about the "soul" of Koreans, a kind of "humanistic nationalism" ex-
pressed largely through religious undercurrents and critiques of modern mate-
rialism. Hwang Sunwon (1915-) is Korea's most-translated novelist, with sev-
eral anthologies of his own in English. Hwang is a more romantic writer, con-
cerned with the beauty of the human world and the expression of human feel-
ing.
Contemporary Korean fiction [hyondae munhak) is the work of writers
who were born too late to experience life under the Japanese or even to re-
member the Korean War and who received their educations in the Korean
language. Their writing used more han gul and fewer Chinese characters and
referred to life in the divided Korea of their own experience. They were the
first to tackle the subject of the Korean War, albeit within limits imposed by
the South Korean government. Thus they wrote about suffering and victim-
ization, painting the North Koreans as the villains, and later broadening their
criticism to assign responsibility to the United States and the distortions that
had been forced on Korea by the international Cold War. Social and political
criticism landed certain especially outspoken writers in trouble with the mili-
tary governments that followed the 1961 coup d'etat. Under Presidents Park
Chung-hee and Chun Doo-hwan the government closed down literary maga-
zines and blacklisted writers regarded as unfriendly to the regime. Some writ-
ers became known for underground writings that were passed around campus
and read by members of literary societies. When the pressure eased in the late
1980s and South Korea underwent "democratization," there was a trickle and
then a torrent of contemporary literature reviewing and revising the national
consciousness of what had happened in the 1940s and 1950s. Cho Chong-
nae's epic The T'aebaekMountains (T'aebaek sanmaek) renewed the discus-
sion of the Korean War as a struggle between common people and privileged
elites. Set in southwestern Korea in the late 1940s, it revolved around at-
tempts by patriotic left-wing Koreans to resist the division of the country
through separate elections for governments in Seoul and P'yongyang. That
period in that area of the country had been a time of endemic violence and
brutality, and Cho's novel was a popular starting point for a reassessment of
the horrors of the Korean War era.
120
TRANSLATION
Documentary Literature
Korea is rich in government records and documents that tell the coun-
try's history from the point of view of the royal court and ruling class. When
the historian Kim Pusik and the monk Ilyon wrote their separate accounts of
the Three Kingdoms era (the Samguk Sagi and Samguk Yusd) they wrote in
classical Chinese, and formal history thereafter always followed Chinese
models, which included "annals" that told the story of what happened more or
less chronologically, followed by "biographies" of the most important people
in the government and leading families, and additional sections that rear-
ranged the material in the annals to tell the stories of individual provinces and
counties. The Choson Wangjo Sillok, or "Veritable Records of the Choson
Dynasty," was a compilation many thousands of pages long that was at once a
historical narrative and an encyclopedia of the dynasty with sections covering
agriculture, the economy, defense, music, and fiscal matters. In addition, cen-
sus documents recorded the names and functions of everyone at intervals dur-
ing the dynasty. Gazetteers served as records of particular locales including
geography, famous people, leading families, and important events.
And the government kept meticulous records of who passed the civil
and military service examinations and thereby won access to the two com-
partments of the ruling yangban class.
It was therefore necessary for anyone concerned with the public busi-
ness to be adept at classical Chinese, and for anyone aspiring to become an
official at any level to study Chinese and learn the conventions associated
with it. This of course was the reason for Korean education to be Chineses-
tyle education stressing mastery of the Confucian canon. The Confucian clas-
sics were models for Korean students, full of stories and examples drawn
from Chinese, and not Korean, history. The letters and essays that they wrote
in the course of their lifetimes were collected into personal anthologies called
munjip that together constitute an essential part of Korea's literary heritage.
121
тературы оказала огромное влияние экономическая и культурная зависи-
мость Кореи от Китая.
Подлинную историю Корейской литературы надо начинать с конца
XIX, начала XX вв., с момента появления буржуазной литературы. Пер-
вым шагом на пути к созданию самостоятельной Корейской литературы
явились переводы классических европейских и японских литературных
произведений писателями Ли Инсиг, Цой Намсен, Чо Ильзай, Лисанхев.
Вслед за этим стали появляться самостоятельные произведения самих
корейских писателей, отличающиеся от прежних литературных произве-
дений по стилю и сюжету: Ли Куансу, Хен Сосен, Зин Сун Сен, Мин
Убо. Нужно отметить особо важную роль Ли Куансу в деле оформления
нового литературного течения. Еще в произведениях раннего периода
(«Золотое зеркало», «Горе юноши», «Куанхо», повести «Письма молодо-
му другу», «Без пощады» и «Предшественник») Ли Куансу высоко под-
нял знамя борьбы против разлагающейся старой феодальной морали,
проповедуя полную свободу личности. Это было первой стрелой,
направленной против старых традиций. Его проповедь свободы любви
встретила самый горячий отклик со стороны тогдашней молодежи.
Цой Намсен и Ли Куансу явились созидателями нового стиля. Их
заслуги в этом деле громадны. Но оба эти писателя, начиная примерно с
1920, пошли в национально-освободительном движении по пути рефор-
мистского соглашательства и, таким образом, потеряли весь свой авто-
ритет. В последнее время оба они работают преимущественно над исто-
рическими темами. Ли Куансу в своих произведениях периода после
1919 («Проводник», «Золотой крест», «Кровавое Письмо», «Святая
смерть» и ряд других) приходит все более к гуманизму; кроме повестей
и романов Ли Куансу известен своими стихами и публицистическими
статьями и является самым плодовитым из всех современных корейских
писателей. Ким Донин, Ием Сансеф, Ден Ентак, Хен Динген, Ла Бин, Чу
Иохан, Ким Соуол, Бен Сучу, Янг Муай, Ким Ансе вместе с Ли Куансу
— созидатели и крупные представители современной корейской буржу-
азной литературы. Из поэтов нужно отметить Чу Иохан («Дождь», «Со-
кровище» и др.), Ким Соукол («Гора», «Дорога» и др.), Бен Сучу («Лон-
гай», имя героини поэмы, «Река»), Янг Муай («После разлуки», «Через
три года» и др.), Ким Ансей («Весенний ветер», «Остров Ольми», «Гора
Самгак»). Однако поэзия далеко отстает от прозы и в количественном и
в качественном отношении.
Что касается драматургии, то можно назвать Ким Унден, Юн Пяк-
нам, Ким Иенпар, Ю Дино, Ким Тайсу и др., но пока что нет налицо се-
рьезных успехов в этой области. В области «сизо» видными авторами
являются Цой Намсен, Ли Куансу, Чу Иохан, Чоун, Уйданг, Карам и др.
122
Также популярны в области рассказа Бан Ингун, Юн Боктин, Ким Кано,
Дин Дансеф и др.
Начало становления пролетарской литературы в Корее следует от-
нести к 1924-1925. Буржуазные писатели проповедовали «необходи-
мость создания самостоятельной национальной литературы для каждой
нации на основе учета специфических условий прошлого и настоящего
каждой нации». На другом полюсе раздались голоса о необходимости
создания классовой пролетарской литературы как одного из средств
борьбы за интересы своего класса, борьбы, связанной с задачами защи-
ты национальных интересов угнетенной нации. Это движение возглав-
лял поэт и публицист Ким Кидин. В стихотворениях «Горе белых рук»,
«Жданное сердце» и в статье «У крестового моста» и др. он первый по-
ставил вопрос в полном объеме. Откликнулись на его призыв Нак Енхи,
Чо Менхи, Ким Донхван Ким Лесу, Цой Сехай, Ли Киенг, Хан Селья Ли
Йксанг и объединились в лигу пролетарских писателей.
Часть пролетарских писателей принимает непосредственное уча-
стие в революционном движении рабочего класса. Поскольку пролетар-
ская литература находится пока что в стадии формирования, она есте-
ственно отстает от националистической литературы в смысле чисто ху-
дожественном, но однако по энергии и энтузиазму во много раз превос-
ходит ее. Пролетарские писатели провозглашают так наз. «диалектиче-
ский реализм». Конечно говорить о корейской пролетарской литературе
можно только условно, ибо она пока еще развивается в значительной
мере под знаком мелкобуржуазного радикализма.
http://dic.academic.ru/dic.nsf/enc_literature/2417/%D0%9A%D0%BE%D1%80%D
0%B5%D0%B9%D1%81%D0%BA%D0%B0%D1%8F
123
Bibliography
124
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http://en.wikipedia.org/wiki/Music_of_Japan
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http://library.thinkquest.org/C0126526/history.html
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становления - до международного признанияю - Режим доступа:
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privlecheniya-turistov
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Учебное издание
ЭКСКУРС В КУЛЬТУРУ
КИТАЯ, ЯПОНИИ И КОРЕИ
Учебное пособие
126