Turandot's Homecoming: Seeking the Authentic Princess of China in a New Contest of Riddles

Abstract

The negative portrait of Chinese culture in Puccini's Turandot hindered this opera's acceptance in China.Wei Minglun's Sichuan Opera performance Chinese Princess Turandot (1995) and Zhang Yimou's collaboration with Zubin Mehta on Puccini's Turandot premiere in Beijing, however, brought Turandot home at the end of twentieth century.This thesis explores Turandot's transformation and reception in China by analyzing the Chinese cultural representation and authenticity of these two Chinese versions.To provide a historical context, the thesis traces Turandot's origin from Nizami's Haft Paykar (1197) to Puccini's opera.It also includes discussion of varied Chinese adaptations from 1995 to 2010.Ultimately, this thesis investigates issues of Orientalism, Occidentalism, authenticity, and hybridism in Turandot's homecoming.Because the Orientalist image of Turandot has been modified by cross-cultural context, I propose that Orientalism and Occidentalism can be distinguished by how a work is made and how it is perceived.appreciate Dr. Bonnie Lin's help in making my study abroad dream possible.

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