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Thunderstorm (Chinese: 雷雨; pinyin: Léiyǔ; Wade–Giles: Lei-yü) is a play by the Chinese dramatist Cao Yu. It is one of the most popular Chinese dramatic works of the period prior to the Japanese invasion of China in 1937
Thunderstorm (Chinese: 雷雨; pinyin: Léiyǔ; Wade–Giles: Lei-yü) is a play by the Chinese dramatist Cao Yu. It is one of the most popular Chinese dramatic works of the period prior to the Japanese invasion of China in 1937. The drama Thunderstorm was first published in the literary magazine, Literary Quarterly. Shortly after its publication, a production of the play was mounted in Jinan, and later, in 1935, in Shanghai and in Tokyo, both of which were well received
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Thunderstorm' by Tsao Yu St. John's Auditorium. This play's publicity bills it as 'The Chinese answer to Shakespeare'. As a thunderstorm builds outside, tensions rise within. A convenient diagram is provided in the programme, both clarifying the relationships between the protagonists and cleverly hinting at the revelations to come. The acting was universally strong, though the cast had some difficulty building a tense, claustrophobic atmosphere in the large and airy venue.
The Thunderstorm is a 1957 Hong Kong drama film directed by Ng Wui and starring Bruce Lee based on the play Thunderstorm by Chinese dramatist Cao Yu.
The Thunderstorm is a 1957 Hong Kong drama film directed by Ng Wui and starring Bruce Lee based on the play Thunderstorm by Chinese dramatist Cao Yu. Originally filmed and released in Cantonese in 1957, The Thunderstorm was dubbed into Mandarin for re-release during the 1970s in Hong Kong when Lee shot to super stardom during the time when Mandarin films dominated Hong Kong cinema. Bruce Lee as Chow Chung. Pak Yin as Lui Shi-ping. Cheung Ying as Chow Ping. Kong Duen-yee as Tse Fung.
This is just a short fic I wrote while it was storming outside. Pay close attention to the end, or you might not understand what happened. Disclaimer: I don't own Yu Yu Hakusho. Dark storm clouds drifted overhead accompanied by flashes of lighting and the ground-shaking rumble of thunder. Kurama sat at his desk, drinking from a glass of tea that had been on his desk; he was guessing that his Kaasan had brought it up before she left. He was trying to finish his homework before his Kaasan and the rest of the family returned home, but he was distracted by the oncoming storm. What if they got caught in the middle of a downpour?
Here, for the first time, is an adequate English translation.
The setting is the home of an industrialist in north China, where a family has come together with the inexorable fatality of a Greek drama. It is a play of tensions, and, in the twenty-four hours in which the action takes place, we watch these tensions mount and tauten as the tragic climax swiftly approached.
Here, in miniature, we witness the disintegration of the fabric of the old society and the birth-pangs of the new. The head of the house, a self-made man whose preoccupation with success has made him in sensible to the ties of blood and affection, still bears within him the stifling weight of the old feudal society. The younger generation are in rebellion against the decaying order which the older generation stand for, and the intensity of their reaction reveals new facets in the dramatic situation.
The play is an accomplished example of the Western form of drama in China. The emotional conflicts and stresses which Tsao Yu handles with such finesse are skillfully interwoven and counterpoised in such a way that suspense is sustained to the final curtain.
We are confident that English speaking readers will accord this play the welcome that one of the classics of twentieth-century drama deserves.