Sophocles’ Antigone and Chinese Opera (xiqu): a discussion of hybridized and indigenized adaptations

Abstract Sophocles’ Antigone has been the subject of numerous adaptations. Among these are two xiqu (Chinese opera) adaptations of Antigone, Hebei bangzi (Hebei clapper opera) Thebes City (2002) and jingju (Peking opera) Mingyue and Zihan (2015). This article compares these two works and the different ways that they adapt the text. The first strategy for adaptation is ‘hybridization’ in which the work is adapted and transformed according to local generic conventions and expectations, but a number of foreign elements remain. A second strategy is ‘indigenization’ in which the work is thoroughly assimilated into the local cultural form, and there are effectively no foreign elements. Both these strategies can be observed in looking at these Chinese adaptations of Antigone. After comparative discussion of the two xiqus, the article focuses on Thebes City, looking at the way that it combines the history and culture of ancient China with ancient Greece as well as the way in which it engages with Chinese culture through its depiction of ghosts. This element is singled out because it provides a mature example of hybridization at work. From discussions of these productions of Antigone, three key points emerge. The first is that adaptions of Greek drama in xiqu privilege creativity and performability over fidelity to an original text. The second is that when operatic conventions of xiqu are observed, the work is more likely to succeed. This seems to be the case with the tremendous local success of Thebes City. Thirdly, it is worth observing that the hybridized mode which is adopted in Thebes City is the most difficult to succeed with as it requires balancing diverse elements. Thebes City’s admirable success lies in its ability to achieve ‘harmony in diversity’.