By Daphne P. Lei (auth.)
Bringing the examine of chinese language theatre into the 21st-century, Lei discusses ways that conventional artwork can live to tell the tale and thrive within the age of modernization and globalization. construction on her earlier paintings, this new ebook makes a speciality of numerous sorts of chinese language 'opera' in destinations round the Pacific Rim, together with Hong Kong, Taiwan and California.
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Additional resources for Alternative Chinese Opera in the Age of Globalization: Performing Zero
The notion of employing a theatre director to oversee every aspect of a production’s mise-en-scène was unknown in traditional opera. Although most of the young Taiwan directors involved in the Taiwan Trilogy were knowledgeable in traditional opera, it was their “modern” and “Western” theatre sensibilities that made them valuable assets. Li Hsiao-Ping’s training in jingju, as well as his experience working in little theatres and his study of Western theatre theories, helped him become a key player in the Innovative Jingju movement in Taiwan.
I use the word “feminine” here to indicate associations with harmlessness, prettiness, romanticism, or even frivolousness. The term “effeminize” here means a deliberate effort to make jingju “feminine” (pretty and harmless), with plays about women written by women. 53 Wang An-Ch’i, artistic director of Guoguang since 2003, is the main author behind these plays, all of which center on the sorrow, romantic desires, or psychological struggles of women. My focus here will be Wang Youdao Divorces His Wife, Three Persons, Two Lamps and The Golden Cangue.
Translations of terms and titles are also my own where no official translation is available. Chapter outlines All the alternative Chinese opera performances discussed in this book took place in the first decade of the millennium, in the Chinese “peripheries” (Taiwan, Hong Kong, California). The general climate of decline in traditional art, local policies, and political tensions between the center and peripheries have combined to make mounting these performances a tremendous effort that requires multivalent collaboration, intricate negotiation, and substantial capital and manpower.