Wikipedia

Tsai Chin (actress)

For the Taiwanese singer, seeTsai Chin (singer).

Tsai Chin(Chinese:Chu thải cần;born 1 September 1933) is aChinese-Britishactress, singer, director, and teacher. Her career spans more than six decades and three continents.

Tsai Chin
Chin in 2019
Born(1933-09-01)1 September 1933(age 91)
Tianjin,Republic of China
Other namesIrene Chow
CitizenshipUnited Kingdom[1]
Alma materRoyal Academy of Dramatic Art
Tufts University
Occupation(s)Actress, singer, director, teacher, author
Years active1957–present
Spouses
Frank Chang
​
​
(m.1955;div.1956)​
Children1
Parent(s)Zhou Xinfang
Lilian Qiu
RelativesMichael Chow(brother)
China Chow(niece)
Chinese name
Traditional ChineseChu thải cần
Simplified ChineseChu thải cần
Transcriptions
Standard Mandarin
Hanyu PinyinZhōu Cǎiqín
Wade–GilesChou1Ts'ai3-ch'in2
IPA[ʈʂóʊ tsʰàɪ.tɕʰǐn]

The daughter ofPeking OperastarZhou Xinfang,Chin was born inShanghaiand educated there and inBritish Hong Kong.She became the first Chinese-born student of theRoyal Academy of Dramatic Art,of which she is an Associate Member. Initially under the stage nameIrene Chow,she starred onstage in London's West End inThe World of Suzie Wongand on Broadway inGolden Child.Chin appeared in twoJames Bondfilms, 39 years apart, as aBond girlinYou Only Live Twice;and inCasino Royale.

In the United States, Chin is best known for her role as Auntie Lindo in the filmThe Joy Luck Club(1993). She also appeared in theMarvel Cinematic Universetelevision seriesAgents of S.H.I.E.L.D.episode "The Only Light in the Darkness"(2014) asLian Mayand in the feature filmShang-Chi and the Legend of the Ten Rings(2021) as Waipo. She was the first acting instructor to be invited to teach acting in China after theCultural Revolution,when China's universities reopened. In China, she is best known for her portrayal ofGrandmother Jiain the 2010 TV drama seriesThe Dream of Red Mansions.

Early life

edit

Tsai Chin was born on 1 September 1933,[2]inTianjin(Tientsin), China, where her father was on tour. She is the third daughter of thePeking operaactor and singerZhou Xinfang(1895—1975) and Lilian Qiu (AKA Lilian Ju; 1905–1968). Chin has a brother, restaurateurMichael Chow.

She grew up in theShanghai French Concession,where (under her western name, "Irene Chow" ) she received a multilingual education at The Convent of the Sacred Heart,[citation needed]Mctyeire School( trung tây nữ trung ) in Shanghai andKing George V Schoolin Hong Kong.[3]During her childhood, Tsai Chin was witness to colonial occupation, theJapanese invasion of China,Chinese Civil War,and the Communist takeover in 1949.

Education

edit

At the age of 17, she left Shanghai and was sent to England to study atThe Royal Academy of Dramatic Art,where she was the first Chinese student in the art academy. Tsai Chin later became an Associate Member ofThe Royal Academy of Dramatic Art.She earned a master's degree atTufts Universityin Boston, Massachusetts.

Career

edit

Early years

edit

Tsai Chin's first significant film role came when she was cast in the filmThe Inn of the Sixth Happiness(1958), in which she played the adopted daughter of Ingrid Bergman's character. Her big break, though, arrived when two Broadway shows came to London at the same time. Initially, Tsai Chin was cast as one of the two leads in the musicalFlower Drum Song.However, she also auditioned for the playThe World of Suzie Wongfor which she was offered the title role. TheDaily Mailquoted Chin as saying, "I had a terrible decision to make."[4]She opted to star as Suzie Wong at The Prince of Wales Theatre, London (1959–1961), where she saw her name in lights for the first time. The play, generally panned by the critics, was a commercial hit. Chin drew good reviews, withMilton Shulmanof the Evening Standard saying, "Tsai Chin is a lovely creature with all the vivacity, simplicity and gusts of unpredictable Eastern temperament."[5]Harold Hobsonof theSunday Timessaid, "Tsai Chin who has cool clear beauty and considerable talent."[6]

To compensate Tsai Chin for not being able to do the musicalFlower Drum Song,producer, Donald Albery granted her request to sing a song inThe World of Suzie Wong.She chose a lyrical Chinese song, "Second Spring" ( đệ nhị xuân ), which was translated into English as "The Ding Dong Song", byLionel Bart.Tsai Chin recorded the song in 1960 forDecca Recordsin London. The single, arranged and conducted by music director Harry Robinson, became a hit, particularly in Asia.[7]

Tsai Chin followed this success by recording several more singles and two LPs, later incorporating many of these songs, written specifically for her, into a cabaret act which she performed from 1961 to 1966. As well as touring her cabaret show throughout the United Kingdom, she also performed in London's most exclusive venues, including the Dorchester, the Savoy, the Society, and frequentlyQuaglino'sand Allegro, sharing a bill withDavid Frost,then at the start of his illustrious career. Her cabaret act was also aired on television in Switzerland and the Netherlands.Varietycalled her a "Savvy entertainer, with most of her material tailor-made for her personality."[8]London'sEvening Newswas "impressed…by the way she held her audience, wasn't a murmur not even the clatter of one piece of cutlery."[9]

  • The World of Tsai Chin(1962) LK 4501 (mono and stereo)
  • The Western World of Tsai Chin(1965) LK 4717 (mono)

1960s

edit

Apart from her singing, she played Juicy Lucy inThe Virgin SoldiersalongsideLynn Redgrave(1969), directed byJohn Dexter;helped to "assassinate"Sean ConneryinYou Only Live Twice(1967); worked forMichelangelo AntonionionBlowup(1966) and forFred ZinnemanninMan's Fate(1969), when the MGM studio unfortunately collapsed before filming barely started. From 1965 to 1969, she made five films oppositeChristopher LeeasLin Tang,daughter ofFu Manchu,a Chinese archvillain intent on dominating the world. As soon as she was in the position to do so, she fought to make Asian roles more truthful.[10]

Her stage work at this time included leading roles inThe Gimmick,with Donald Sutherland, at Criterion Theatre, West End (1962);The Magnolia Tree,at Royal Lyceum, Edinburgh (1966);Mrs. Frail in Love for Love,by William Congreve, in Watford (1970); and touring the United Kingdom in the title role ofThe Two Mrs. Carrolls(1969), with Paul Massie.

Tsai Chin made her television debut in the popular British hospital dramaEmergency Ward 10,thenInternational Detective(1960),Man of the World(1963),Dixon of Dock Green(1965), andThe Troubleshooters(1967). In 1962, she traveled to New York City for the first time to guest star for a Christmas specialThe Defenders.In 1964 she had a recurring role inTW3,short forThat Was The Week That Was,a popular satirical comedy show which was at the time a new concept in television presented by David Frost and produced by Ned Sherrin. She also co-starred with Roy Kinnear and Lance Percival inFive Foot Nine Show,and later starred in her own show,On Your Ownfor ITV (1965). She was invited to sing on a myriad of variety shows, talk shows and even game shows during this time.[11]Her popularity was so high at that time that she even had a Chinese leopard in the London Zoo named after her.[12]

TheCultural Revolutionstarted in 1966. China shut itself off from the rest of the world and artists were purged, which eventually claimed the lives of both her parents;[13]describing the 1960s in 2020 she said "While we in London began swinging and loving, China began swinging but hating. My parents suffered and died."[12]

1970s

edit

She said "Another problem for minority actors is that we don't often work with beautiful dialogue. And there were less chances of working with great directors and actors. That's when you can learn a lot."[12]In 1972, Tsai Chin portrayedWang GuangmeiinThe Subject of Struggle,adocudramadirected byLeslie Woodhead,for Granada. Her performance as Wang, wife ofLiu Shaoqi,Chairman Mao's chief rival, and the film about her trial by theRed Guardswere unanimously praised. "It's all brilliantly done"The Sunday Times;[14]Of Chin's performance: "Played superbly,"Clive JamesofThe Observer;[15]"The most important program of the night…brilliantly, unforgettably played by Tsai Chin," Tom Hutchinson,Evening StandardTV guide;[16]and by critic Elizabeth Crawly,Evening Standard:"Tsai Chin leavesThe World of Suzie Wonga long way behind with this brave, haggard performance. "[17]It was a role she could identify with, as her father was undergoing the same brutal treatment in China. Moreover, it was almost the first time Tsai Chin was asked to play a mature and intelligent person with depth and complexity, a far cry from her usual stereotypical roles. For the first time, she was portraying a real person, not a stereotype; in her autobiography, she writes: "For the first time, the artist and the woman within me met at last."[18][12]This film would signify the end of the first phase of Tsai Chin's acting career. In London, Tsai Chin suffered financial ruin and experienced mental health problems, brought on by her parents' deaths. She only felt able to return to China after Mao's death.[12]

In the mid-1970s, Chin went to America and became a member of The Cambridge Ensemble, a multi-racial experimental group in what was then known as "the finest theater in Boston."[19]Under the direction of Joann Green, she was given the opportunity to play strong women in western classics, such as Klytemnestra inThe Oresteia(1977), with Tim McDonough as Agamemnon. Kevin Kelly ofThe Boston Globesaid, "Tsai Chin is ice-wonderful."[20]Jon Lehman ofThe Patriot Ledgersaid, "great performance, a portrayal which shows us why Clytemnestra is one of the great woman characters of all time."[21]In 1977, she played Hester Prynne inThe Scarlet Letter,again with Tim McDonough as Rev. Arthur Dimmesdale. Ken Emerson ofThe Boston Phoenixsaid: "It takes a prodigiously gifted and subtle actress to follow Hawthorn's stage directions."[22]Arthur Friedman inThe Real Papersaid, "Chin's portrayal is great because it reaches the heart without stooping to sentimental theatrics."[23]

Chin began taking courses in Shakespearean studies at Harvard University. This was followed by her full-time enrollment atTufts University,where she earned a master's degree in drama in 1980. She later received the Tufts University Alumni Association for Distinguished Service to Profession award in 1994. To supplement her scholarship, she taught acting and made her director's debut in Harold Pinter'sThe Lover(1979). Her Master's project was Ugo Betti'sCrime on Goat Island,which starred fellow student Oliver Platt, and was her entry to American College Theatre Festival (1980).

The end of the 1970s coincided with the end of theCultural Revolutionin China. Mao died in 1976, artists and intellectuals were reinstated, and universities that were closed for ten years reopened. Chin became the first drama coach invited from abroad by the Minister of Culture to China since the Moscow Arts Theatre's withdrawal in the fifties.

1980s

edit

On 29 March 1980, Chin met with her father's colleagueCao Yu( tào ngu ). The meeting took place in New York City, when Arthur Miller had hosted the playwright at Columbia University's School of International Affairs. This meeting resulted in an invitation to her by the Chinese Cultural Department to return to her home country after a quarter of a century's absence to teach a class at The Central Academy of Dramatic Art ( trung ương hí kịch học viện ), in Beijing in 1981. Prior to leaving for China,Jill Tweediewrote an article about her inThe Guardian:"After the age of 40, the little Suzie Wong Sex Kitten has remade herself into a mature, knowledgeable, exciting and excited human being." In 1982, she directed China's premiere production of William Shakespeare'sThe Tempest,"drawing inspiration from China's theatre tradition and Western internal acting."[24]

After working in China, Chin returned to London, where she spent most of the decade serving as a cultural liaison between China and the United Kingdom, where, among many projects, Chin helped connect the British Arts Council with the theater arts in China and introduced Peking Opera productions.[25]During this time she made many trips to Hong Kong to help transformHong Kong Repertory Theatreto a fully professional theater company, teaching and introducing the works ofAnton Chekhovto Hong Kong students. In Hong Kong, she directed the Asian premiere production ofThe Seagull(1982) and later Shakespeare'sTwelfth Night(1988), as well as serving as a consultant to TheHong Kong Academy for Performing Arts(1993).

In 1988, her autobiography,Daughter of Shanghai,commissioned byCarmen CallilofChatto & Windus,was published in England and became a worldwide best-seller.Polly ToynbeeofThe Guardiansaid, "The world of Tsai Chin has been a good deal more interesting thanThe World of Suzie Wong,the play that made her into a star. "[26]Richard West ofThe Sunday Telegraphwrote, "An extraordinary and occasionally tragic life story."[27]Beth Duff inNew York Times Book Reviewwrote, "Captivating account…skillfully interwoven the glamour and despair."[28]Jean Fritz in theWashington PostandInternational Herald Tribune:"The heart of this book lies in her conflict as she tried to feel at home in two cultures…that is her triumph."[29]In 1989,Daughter of Shanghaiwas voted "One of the Ten Best Books of the Year ( thập bổn hảo thư )" by Hong Kong TV Cultural Group.[30]

At the end of the 1980s, Chin resumed her acting career by returning to London's West End in David Henry Hwang'sM. Butterfly(1989), starringAnthony HopkinsandGlen Goei,directed for the second time by John Dexter. It was during this production thatAmy Tan,author ofThe Joy Luck Club,walked into her dressing room at the Shaftesbury Theatre, London.

1990s

edit

In 1990, Chin played the title role in Henry Ong's one-woman drama,Madame Mao's Memoriesin London, which was particularly ironic due to the fact that Chin's father was personally purged by Madame Mao and Chin's mother died due to the brutality of the Red Guards. The play, directed by Glen Goei and performed at The Latchmere, was the hottest ticket in town.Sheridan Morleyin theHerald Tribune Internationalsaid: "She brings to this study of Madame Mao in defeat a tremendous dramatic courage and intensity….It is Tsai Chin's triumph to make us do rather more than just hate her."[31]In her autobiography, she remarked, "I was determined to be a good deal fairer in my representation of her than she ever was of my father."

Chin's final United Kingdom acting performance was inBodycountby Les Smith, for Rear Window, Channel 4 (1993).

In 1993, Chin took on a role that would energize her acting career and change her life yet again when she played the role of Auntie Lindo in the hugely popularThe Joy Luck Club.WhenJoy Luck Clubcame out, she received rave reviews for her work. "Gene Siskel said of her performance, 'I hope Academy voters don't overlook her because she's not a household name. I am going to repeat her name.'" Those words were repeated in bothVarietyandHollywood Reporterunder the title "Memo to the Academy"[32]Janet Maslin ofThe New York Times:"Despite its huge cast, the film is virtually stolen by Tsai Chin."[33]But the film did not receive a single award in any category. The day after the award ceremonies, on the front page ofThe New York Times'Arts & Leisure section, Maslin again wrote, "Did Disney back too many actresses?"[34]Chin relocated to Los Angeles at the age of 62.

Hollywood

edit

After moving to Hollywood, Chin was immediately given the lead in a one-hour television pilotCrowfoot(1994) byMagnum, P.I.producerDonald P. Bellisario.The series did not get picked up. In 1995, she played Brave Orchid inMaxine Hong Kingston'sThe Woman Warrior,directed bySharon Ott,for which she received the Los Angeles Drama Critic Circle Award.

Chin played the role of Eng Sui-Yong inDavid Henry Hwang's Tony-nominatedGolden Child,directed byJames Lapine,which ultimately went to Broadway, Longacre Theatre (1995–1998), and for which she won an Obie Award and was nominated for The Helen Hayes Award. Laurie Winer,Los Angeles Times,commented on her performance as first wife: "Her descent into opium addiction is quite harrowing."[35]Ben Brantley,The New York Times:"[Chin] suggests an Asian version of Bette Davis."[36]

Other performances included roles in threeChay Yewplays:Half Lives,directed byTim Dangat East West Players (1996);Wonderland,at La Jolla Playhouse; and adaptation ofFederico García Lorca'sThe House of Bernarda Alba,playing Maria Josefa, the mad mother toChita Rivera's Bernarda, directed by Lisa Peterson at Mark Taper Forum (2002).

Other work at this time included the voice of Popo in the daytime Emmy Award-winningPopo and The Magic Pearl(1996); an eccentric Madame Wu in the TV dramaThe Diary of Ellen Rimbauer(2003); and Grandmother Wu inWendy Wu: Homecoming Warrior(2006), starringBrenda Songas Wendy Wu.

In 2003 and 2004, Chin performed at the Hollywood Bowl, in China Night, reciting poetry backed by a hundred-piece orchestra, conducted byJohn Mauceri,the founder of Hollywood Bowl Orchestra. She was a guest in numerous television series, most notably the recurring role as Helen,Sandra Oh's frivolous mother, inGrey's Anatomy,and recentlyRoyal Pains.

Chin made numerous indie films and many features, notably appearing as Chairman Xu inRed Corner(1997), Auntie inMemoirs of a Geisha(2005), and Madame Wu in the James Bond thrillerCasino Royale(2006). In 2008, she was offered the role of the Dowager Jia ( giả mẫu ) in a lavish adaptation ofDream of the Red Chamber( hồng lâu mộng ), China's most beloved classic novel from the eighteenth century. This was her first time back working as an actress in China and she spent more than one year completing the 50 episodes (2010).

Back in Los Angeles, Chin accepted the title role of a woman suffering from Alzheimer's inNani,an AFI thesis film directed by Justin Tipping, which won the Student Academy Award and DGA Student Film Award (2012).

In 2014, she appeared in Marvel'sAgents of S.H.I.E.L.D.,reuniting with herThe Joy Luck Clubco-starMing-Na Wen,to playMelinda May's mother,Lian May.

Chin appeared in two episodes of HBO'sGetting On.Her autobiography,Daughter of Shanghai,has been published in ten versions.

Filmography

edit

Film

edit

Television

edit

Stage work

edit
  • The Final Ace(1956) "Jennie"; New Lindsey Theatre, London
  • The Chinese Classical Theatre(1957) "Compere"; The Drury Lane, London
  • Princess and the Swineherd(1957) "Princess"; Arts Theater, London
  • Ali Baba(1958) "Princess"; Dundee Repertory Theatre, Doncaster, UK
  • The World of Suzie Wong(1959) Title role; Prince of Wales Theatre, London
  • Night of 100 Stars(1960) Revue sketch in aid of Actor's orphanage, led by Lord Olivier, London
  • The Gimmick(1962) "Gabby Lee"; Criterion Theatre, London
  • The Magnolia Tree(1966) "Kesa"; Royal Lyum, Edinburgh
  • The Two Mrs. Carrols(1969) Title role; UK tour
  • Love For Love(1970) "Mrs. Frail"; Palace Theatre, Watford, UK
  • Fanshen(1976) "Hu Hsueh-chen"; The People's Theatre, Boston
  • The Orestaia(1977) "Clytemnestra"; The Cambridge Ensemble, Boston
  • Agamemnon(1977) "Clytemnestra"; Norfork Prison for Lifers, Massachusetts
  • The Scarlet Letter(1977) "Hester Prynne"; The Cambridge Ensemble, Boston. (Best performance,The Real Paper)
  • Puntila and Matti(1977) "Eva"; The Cambridge Ensemble, Boston
  • Br'er Rabbit(1978) "Sister Terrpin"; The Cambridge Ensemble, Boston
  • M. Butterfly(1989) "Suzuki" "Comrade Chin"; Haymarket Theater, Leicester, UK; Shaftesbury Theatre, London
  • Madame Mao(1990) "Madame Mao"; Liverpool Playhouse
  • Madame Mao's Memories(1990) "Madame Mao"; Latchmere Theatre, London
  • The Woman Warrior(1995) "Brave Orchid"; James A. Doolittle Theatre, Los Angeles (LA Drama Critics Circle Award)
  • Fishes(1995) "Mother," "Fish"; Taper Lab New Work Festival, Los Angeles
  • Golden Child(1996) "Eng Sui-Yong"; The Public Theater, New York
  • Half Lives(1996) "woman"; East West Players, Los Angeles
  • Golden Child-- "Eng Sui-Yong": (1997) South Coast Repertory; (1989) Victoria Theatre, Singapore; (1998) ACT, San Francisco; (1998) The Kennedy Center, Washington, D.C. (nom. Helen Hayes Award); Longacre Theater, New York.
  • Fabric(1999) "Auntie Suni"; Singapore Arts Festival
  • Wonderland(1999) "Woman"; La Jolla Playhouse, La Jolla, California
  • House of Bernarda Alba(2002) "Maria"; Mark Taper Forum, Los Angeles
  • China Night(2003–04) Hollywood Bowl
  • The Vagina Monologues(2007) "I Was There in the Room"; Aratani Japan Asian Theater, Los Angeles

Discography

edit
  • The Ding Dong Song/The Second Spring( đệ nhị xuân ) F-11192 (7 "single)
  • The Chinese Charleston/How Shall I Do It?F-11489 (7 "single)
  • Buttons and Bows/Woa Yaw NeeF-11595 (7 "single)
  • Any Old Iron/School in CheltenhamF-11737 (7 "single)
  • Good Morning, Tokyo(1964 Tokyo Olympic theme for British Television)/I Love A Man(from "Maggie May" ) F-12039 (7 "single)
  • The World of Tsai Chin(LP)
  • The Western World of Tsai Chin(LP)

Directing

edit
  • The Journey(1978) Boston Public Schools
  • The Lover(1979) Tufts University
  • Crime on Goat Island(1980) Tufts University
  • The Tempest(1981) Central Academy of Dramatic Art, Beijing ( trung ương hí kịch học viện )
  • The Seagull(1982) Hong Kong Repertory Theatre
  • Twelfth Night(1987) Hong Kong Repertory Theatre

Teaching

edit
  • Drama Therapy (1963) Holloway Prison, London
  • Theatre workshop for adolescents in Chinatown (1976) Boston
  • Acting instructor (1977–1979) Tufts University Drama Department, Medford, Massachusetts
  • Workshop for Title VII Theatre Arts Staff (1978) The School Committee of the City of Boston
  • Acting instructor (1981) Central Academy of Dramatic Art, Beijing ( trung ương hí kịch học viện, biểu diễn hệ 78 ban )
  • Master Class (1982) Shanghai Academy of Dramatic Art, Shanghai ( thượng hải hí kịch học viện )

Awards

edit
  • Associate Member, Royal Academy of Dramatic Art, London (1964)
  • Voted one of London's "Women of the Year" (1964)
  • The London Zoo names Chinese leopard "Tsai Chin" (1965)
  • The World Who's Who of Women,Cambridge, England (1973)
  • Honorary Board of National Center for Women in Performing and Media Arts,Boston (1978)
  • Distinguished Service to Profession, Tufts University Alumni Association (1994)
  • Los Angeles Drama Critics Circle (1995)The Woman Warrior
  • Obie Award (1997)Golden Child
  • Helen Hayes Award nominee (1998)Golden Child
  • Ammy Lifetime Achievement Awards[38]
  • Achievement Award (2007) Chinese Performing Arts Foundation, San Francisco

References

edit
  1. ^Zhou Caiqín (1 November 1989)."The Daughter of Shanghai".Gordonsville, Virginia.p. 164. Archived fromthe originalon 26 April 2003.Ngã nã liễu anh quốc quốc tịch, hoàn thành liễu dữ anh quốc nhân đồng hóa đích quá trình. ( "I obtained British citizenship and completed the process of assimilation with the British".){{cite web}}:CS1 maint: date and year (link)
  2. ^Stuart Jeffries (3 November 2020)."Tsai Chin: 'What was it like being in bed with Sean Connery? Fine'".The Guardian.Tsai Chin was born on 1 September 1933 – "I am not someone who is shy about age", she says, confirming the date.
  3. ^Harris, Richard (March 1989)."Daughter of Shanghai.By Tsai Chin. [London: Chatto and Windus, 240 pp. £12.95.] ".The China Quarterly.p. 176.doi:10.1017/S030574100002395X.
  4. ^Daily Mail,29 September 1959.
  5. ^Milton Shulman,Evening Standard,22 November 1959.
  6. ^Harold Hobson,Sunday Times,22 November 1959.
  7. ^"The Second Spring", written by Yao Ming, was first sung by Dong Peipei ( đổng bội bội ) and had previously been a hit in China. Tsai Chin was the first to record the English version translated especially for her. Millions of copies were sold, yet Chin was never financially compensated because the majority of sales were pirated. "The Ding Dong Song" was subsequently recorded by other artists, most successfully singerRebecca Pan( phan địch hoa ), who subsequently thanked Tsai Chin during a talk show in 2009.
  8. ^Variety,24 February 1965.
  9. ^Evening News,21 June 1966.
  10. ^1. From her memoir,Daughter of Shanghai,chapter "We are Never Real People": "Stereotype roles are one-dimensional characters demanding little creative energy or artistic truth from those who play them…..When this happens, we become de-personalized which further arrests our artistic development…"
  11. ^The Terry Wogan Show,The Eamonn Andrews Show,The Michael Parkinson Show,LateNight Line-up,The Adam Faith Show,Jukebox Jury,Call My Bluff,andThe David Frost Show in New York.
  12. ^abcdeJeffries, Stuart (3 November 2020)."Tsai Chin: 'What was it like being in bed with Sean Connery? Fine'".The Guardian.
  13. ^Tsai Chin's father dies in purge,Daily Mail,27 August 1966, "Purge of Chinese youth leaders",The Guardian.27 August 1966. Tsai Chin's father did not kill himself, but died nine years later from persecution. Her mother died during the most violent years of the Cultural Revolution, in 1968, from repeated beatings by the Red Guards.
  14. ^Sunday Times,24 September 1972.
  15. ^Clive James,The Observer,1 October 1972.
  16. ^Tom Hutchinson,Evening Standard,26 September 1972.
  17. ^Elizabeth Crawly,Evening Standard,27 September 1972.
  18. ^Daughter of Shanghai,by Tsai Chin. "Collapse."
  19. ^Association For The Performing Arts,6 June 1978.
  20. ^Kevin Kelly,The Boston Globe,15 January 1977.
  21. ^Leger,15 January 1977.
  22. ^Ken Emerson,The Boston Phoenix,17 May 1977.
  23. ^Arthur Friedman,The Real paper,14 May 1977.
  24. ^Zhu Mei, "British actress Zhou directs 'The Tempest'."China Daily,10 December 1981.
  25. ^The most successful was "Three Beatings Tao Sanchuan" ( tam đả đào tam xuân ), byWu Zuguang,at theRoyal Court Theatre,London, 15 July – 4 August 1985, London International Festival of Theatre.
  26. ^Polly Toynbee, "Life After Suzie Wong."The Guardian,21 July 1988, page 16.ClippingatNewspapers.com.
  27. ^Richard West, "The Wong Turning,"Sunday Telegraph,17 July 1988, page 20.ClippingatNewspapers.com.
  28. ^Sanders, Beth Duff (14 January 1990). "IN SHORT; NONFICTION".The New York Times.p.New York Times Book Reviewp. 31 (Time Machinepage 79).-Copy atGale Academic OneFile.
  29. ^Fritz, Jean (27 December 1989)."'SUZIE WONG' RETURNS TO CHINA ".Washington Post.Retrieved29 September2024.- PossiblyIHTon 13–14 January 1990?.
  30. ^"Ten Good Books," Hong Kong TV, CulturalGroup, ( viên thiên phàm ), ( hương cảng điện đài văn hóa tổ ). 25 July 1989.
  31. ^Sheridan Morley,Herald Tribune,12 November 1991.
  32. ^14 January 1994,Varietyand 25 January 1994,Hollywood Reporter
  33. ^8 September 1993. Maslin.
  34. ^20 March 1994.The New York Times.
  35. ^Winer, Laurie (13 January 1997)."After Some Smart Revisions, Hwang's 'Golden Child' Gains Luster".Los Angeles Times.Retrieved11 October2016.
  36. ^Brantley, Ben (20 November 1996)."Extending a Hand to Ancestral Ghosts in China".The New York Times.Retrieved11 October2016.
  37. ^"The Jade Pendant".crimsonforestfilms.com.2017.
  38. ^DC Wolfe (22 November 2001)."Searching for Lucy Liu...At The Ammys".AsianWeek.Archived fromthe originalon 13 March 2006.Retrieved13 March2006.
edit
Retrieved from "https://en.wikipedia.org/w/index.php?title=Tsai_Chin_(actress)&oldid=1267748629"