• Self-contained in its art¡X¡m¦å¤â°O¡n, ¡m¤ý¤l´_¤³°O¡n, ¡mªe¬¥ºq¥JÀ¸¡n
• Incorporating Western elements¡X¡m¼¤±æ«°°ê¡n,¡m°¨§J¥Õ¤Ò¤H¡n
• Incorporating contemporary jokes¡X¡m¼ö¤Ñ¤¼Åʹڡn, ¡mµL¨Æ¥Í«D¡n
• Still, all these adaptations are self-sufficient; there is no direct contact with audience / society / world except for some harmless jokes.
• Subversive? Only artistically so (within a given theatre, a given genre), not sociopolitically so.
  

Sociopolitical Shakespeare

• Othello¡Xdiscrimination based on skin color (in many modern adaptations, OJ Simpson).
• Romeo and Juliet¡Xprovincial complex and political opposition (West Side Story).
• Macbeth¡Xlegitimacy, rebellion, regicide, political regeneration
• King Lear¡Xsame problems
• ¡m©¼©¤ªá¡n suggested it, but provided solution¡Xthere is no real reconciliation.
• ¡m¼¤±æ«°°ê¡nand¡m¦å¤â°O¡n could take this approach, but didn't¡Xtoo timid, or too insensitive?
  

Beijing Opera Lear Alone¡m§õº¸¦b¦¹¡n

Autobiographical

• Children's (Lear's three daughters, Edgar, Edward) Oedipal complex with father figure (Lear, Gloucester).
• Youth's challenging of older authority.
• In romantic comedy¡Xyou challenge authority with free love (A Midsummer Night's Dream, later The Tempest).
• In tragedy¡Xlove can also be an incentive (Romeo and Juliet) but more importantly it involves political power (Macbeth, King Lear).
• Political regeneration (in family or state, family // state).
• Not only about power, but also about love.
• Artist's frustration with the situation of traditional opera (no government financial or moral support, no domestic audience) // under-appreciated, under-loved children's frustration with unfair, unjust fathers.
• Artist's frustration (no government financial or moral support, no domestic audience) // feeling of betrayed fathers.
• Parent-children love¡Xsupposed to be natural, unconditional, unchanged; it really hurts when they betray your expectation.

Sociopolitical

• General chaos in society¡Xbad children, bad parents, lying, cheating, etc.
• General political chaos¡Xstupid ruler, evil officials dominating, good officials scorned.
• Typical Chinese motifs "beauty and fragrant herbs," "sun and clouds"é
• Madmen lead the blind¡Xour politics.
• Not only stupid, but also evil leadership (Bush, Chen)¡X incompetent, short-sighted, and selfish leadership that is wholly faith-based.
• Who is there to answer our pain, our suffering? Old Grandpa Heaven?
• Unfeeling universe¡Xtempest, typhoon, flood, earthquake.
• Human disasters¡Xstill, nobody answers, nobody takes responsibility .

Artistic Conscious

• Role-playing as actor's career.
• Role-playing in real life¡Xwe are father, son, daughter, clown, good, bad.
• If Lear is victim, isn't he also a victimizer?
• We are Lear, Gloucester, Coedelia, Edgar, but also Corneil, Edward.
• Are we not responsible? Are we not to blame?
• Lear's anger is not only directed to his bad daughters, but also to himself, perhaps even more so (same with Gloucester).
• Madam Bovary, c'est moi!
• Make Shakespeare speak your own words¡Xanger, madness, pride, willfulness, they are all my best friends! I am Lear! Every inch of me is Lear! I was born Lear! I was destined to be Lear!
• Fundamental question¡Xwho am I?
• Shakespeare verbatim, but can indeed be your own mind, your own heart, your own psyche.
• Our Shakespeare.
• We feel the same with some popular songs, but the diversity of Shakespeare actually is more so, despite his foreignness.