Letizia Fusini

author

A Tragedy With A Happy Ending: “The Emperor And The Concubine” By The China National Peking Opera Company At London’s Sadler’s Wells

Posted by Letizia Fusini | 17th Nov 2018 | China, London, Review, United Kingdom

The long-term collaboration between the China National Peking Opera Company (Guojia jingju yuan)...

Read More

Peking Opera At The British Library: The Triumph Of Xieyi

Posted by Letizia Fusini | 13th Nov 2018 | China, Chinese Theatre Abroad, London, Review, United Kingdom

As part of the China Focus Events Series, the British Library, in collaboration with Sinolink...

Read More

Modern Man’s Predicament: Nobel Laureate Gao Xingjian As A Tragic Playwright

Posted by Letizia Fusini | 8th Jun 2018 | China, Essay, Playwriting

The place of dramatic tragedy in the twentieth century was one of extreme ambiguity and...

Read More

Cross-cultural Encounters In World Theatre: Bertolt Brecht, The “Alienation” Effect And Chinese Drama

Posted by Letizia Fusini | 20th May 2018 | Acting, China, Essay

The German playwright and drama theorist Bertolt Brecht (1898-1956) is particularly famous for...

Read More

Reinterpreting The Tradition: A Contemporary Retelling Of Tang Xianzu’s “The Handan Dream” By The Guangzhou Dramatic Arts Centre

Posted by Letizia Fusini | 14th Feb 2018 | Adaptation, China, Review, Theatre and Opera

Conceived in 2016 in Guangzhou and previously performed in Beijing and St. Petersburg, the...

Read More

“A River All Red” And “The Phoenix Returns Home” By The China National Peking Opera Company At London’s Sadler’s Wells

Posted by Letizia Fusini | 5th Nov 2017 | China, Chinese Theatre Abroad, London, Review, Theatre and Opera, United Kingdom

Founded in 1955 by the renowned Chinese theatre star Mei Lanfang, the China National Peking Opera...

Read More

Like Us On Facebook

Facebook Pagelike Widget

Awards

Most Popular Posts

Sharing Crafts, Or Laboratory Space by Kiki Selioni 12th January 2026
Writing Across Taiwan and Macau: An Interview with… by Kuan-Ting Lin 6th January 2026
“The Phantom Of The Opera” Returns To Mexico: A… by Lorena Meeser 12th December 2025
“With Ruby and I” – review –… by Verity Healey 3rd January 2026
Echoes of a Crumbling Republic: Review of… by Susanna Sun 4th January 2026
“El entusiasmo” (The Enthusiasm) at… by Maria Delgado 26th December 2025
What Happens In Mecca, Stays In Mecca:… by Marina Johnson 31st December 2025
Alan Ayckbourn’s Woman in Mind at the Duke of York’s… by Aleks Sierz 8th January 2026
Leading with Risk, Trust, and Intuition: An… by Susanna Sun 7th January 2026
Truth and Reconciliation in “Under the Shade… by Verity Healey 2nd January 2026

Recent Posts

Kia Mau Festival Brings Hana Keaka (Hawaiian Language Theatre) to Aotearoa: “Puana” by Tammy Haili‘ōpua Baker 29th January 2026
“Before The Storm” (“Prima Del Temporale”) At Milan’s Piccolo Teatro 27th January 2026
How to Make Rube Goldberg Punk Rock: Narcissister’s “Voyage Into Infinity” 27th January 2026
Martin Crimp’s Version Of “The Seagull” Makes It To The German Stage 26th January 2026
Under The Radar Fest: Testo 23rd January 2026
Sharing Crafts, Or Laboratory Space 12th January 2026
For Bremen’s Re-Launched Packhaustheater, The Emphasis Shifts From Local Topics To Local Acting Celebrities 8th January 2026
Alan Ayckbourn’s Woman in Mind at the Duke of York’s Theatre: Starry West End Staging Is More Visually Delightful Than Emotionally Compelling 8th January 2026
Leading with Risk, Trust, and Intuition: An Exclusive Interview with Director Charles Newell on Berlin’s Rehearsal Room 7th January 2026
Writing Across Taiwan and Macau: An Interview with Taiwanese Playwright Chiao-Jung Chen 6th January 2026

SEARCH OUR ARCHIVES

Pin It on Pinterest