Wu Hsing-kuo performs his one-man version of King Lear. Shakespeare is hugely popular in China, with stage, film and operatic adaptations

---

When cultural events are billed as “Asia meets Europe,” it’s a safe bet that Shakespeare will be present, although not always in familiar versions. Major performances at this year’s Edinburgh International Festival, starting on 12th August, include the Shanghai Peking Opera Troupe’s interpretation of Hamlet, The Revenge of Prince Zi Dan, and the energetic Taiwanese actor Wu Hsing-kuo in a one-man version of King Lear. Alongside indigenous work, Asian artists also perform western classical music: the festival’s programme reflects an Asian fascination not only with Shakespeare but with the western canon as a whole.

It wasn’t always so. Western cultural offerings were all but unknown in east Asia until the 19th century, when the strange and unwelcome foreigners made their presence felt. Convinced of its invincibility, China was particularly slow to respond to the art and storytelling of the west. Jesuit missionaries had been busy translating religious and scientific texts into Chinese since the late 16th century, and in the 19th century the Protestants also churned out translations. But neither group had much interest in translating literature.