Nationality and Universality: The Rewrite of Madam White Snake Under Globalization in Tian Qinxin’s Play Green Snake

Abstract

Adapted from Li Bihua’s novel, Tian Qinxin’s play Green Snake, has actually not only struck an emotional chord with contemporary audience in China, but surprisingly touched audience in Edinburgh Festival Fringe and the Kennedy Center American Theater Festival as well. This paper attempts to examine why this drama, with irrevocable historical attachment and distinct nationality, moves beyond its border to reach the whole world under globalization and becomes a promising part of world literature. In particular, it argues that Green Snake, deriving its fundamental uniqueness and enchantment from a traditional folk saga that involves three worlds—human, Buddha and demon, bridges the nationality and universality by not merely presenting humanistic concern on emotional predicament in contemporary world, but also performing this play in a modern and international stage art.