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The Chinatown opera house provided Chinese immigrants with an essential source of entertainment during the pre World War II era. But its stories of loyalty, obligation, passion, and duty also attracted diverse patrons into Chinese American communities. Drawing on a wealth of Chinese and English-language research, Nancy Yunhwa Rao tells the story of iconic theatre companies and the networks and migrations that made Chinese opera a part of North American cultures.
Operas, Chinese --- Beijing operas --- Chinese operas --- Ching chü --- Jingju --- Operas, Beijing --- Operas, Peking --- Peking operas --- Pʻing chü (Chinese operas) --- Chinese drama --- History and criticism. --- North America. --- Turtle Island
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Chinese opera embraces over 360 different styles of theatre that make one of the richest performance arts in the world. It combines music, speech, poetry, mime, acrobatics, stage fighting, vivid face-painting and exquisite costumes. First experiences of Chinese opera can be baffling because its vocabulary of stagecraft is familiar only to the seasoned aficionado. Chinese Opera: The Actor's Craft makes the experience more accessible for everyone. This book uses breath-taking images of Chinese opera in performance by Hong Kong photographer Siu Wang-Ngai to illustrate and explain Chinese opera stage technique. The book explores costumes, gestures, mime, acrobatics, props and stage techniques. Each explanation is accompanied by an example of its use in an opera and is illustrated by in-performance photographs. Chinese Opera: The Actor's Craft provides the reader with a basic grammar for understanding uniquely Chinese solutions to staging drama.
Operas, Chinese. --- Operas, Chinese --- Acting in opera. --- Opera --- Beijing operas --- Chinese operas --- Ching chü --- Jingju --- Operas, Beijing --- Operas, Peking --- Peking operas --- Pʻing chü (Chinese operas) --- Chinese drama --- History and criticism.
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S16/0300 --- Operas, Chinese --- -Beijing operas --- Chinese operas --- Ching chü --- Jingju --- Operas, Beijing --- Operas, Peking --- Peking operas --- Pʻing chü (Chinese operas) --- Chinese drama --- China: Literature and theatrical art--Traditional theatre: studies --- History and criticism --- History and criticism. --- -China: Literature and theatrical art--Traditional theatre: studies --- Opera
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S16/0300 --- Operas, Chinese --- -Beijing operas --- Chinese operas --- Ching chü --- Jingju --- Operas, Beijing --- Operas, Peking --- Peking operas --- Pʻing chü (Chinese operas) --- Chinese drama --- China: Literature and theatrical art--Traditional theatre: studies --- History and criticism --- History and criticism. --- -China: Literature and theatrical art--Traditional theatre: studies --- Opera
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Operas, Chinese --- Analysis, appreciation --- S16/0300 --- -Beijing operas --- Chinese operas --- Ching chü --- Jingju --- Operas, Beijing --- Operas, Peking --- Peking operas --- Pʻing chü (Chinese operas) --- Chinese drama --- China: Literature and theatrical art--Traditional theatre: studies --- Beijing operas --- 78.33.7 --- Operas, Chinese - Analysis, appreciation
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"Bringing the study of Chinese theatre into the 21st-century, Lei discusses ways in which traditional art can survive and thrive in the age of modernization and globalization. Building on her previous work, this new book focuses on various forms of Chinese "opera" in locations around the Pacific Rim, including Hong Kong, Taiwan and California"--
Operas, Chinese --- Chinese --- History and criticism --- Performances --- Ethnic identity --- S16/0320 --- Beijing operas --- Chinese operas --- Ching chü --- Jingju --- Operas, Beijing --- Operas, Peking --- Peking operas --- Pʻing chü (Chinese operas) --- China: Literature and theatrical art--Modern theatre: studies --- Chinese drama --- Opera --- Ethnology --- Operas, Chinese - History and criticism --- Operas, Chinese - Performances - Pacific Area --- Chinese - Ethnic identity
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Staging Revolution refutes the deep-rooted notion that art overtly in the service of politics is by definition devoid of artistic merit. As a prominent component shaping the culture of the Cultural Revolution, model Beijing Opera (jingju) is the epitome of art used for political ends. Arguing against commonly accepted interpretations, Xing Fan demonstrates that in a performance of model jingju, political messages could only be realized through the most rigorously formulated artistic choices and conveyed by performers possessing exceptional techniques. Fan contextualizes model jingju at the intersection of history, artistry, and aesthetics. Integral to jingju's interactions with politics are the practitioners' constant artistic experimentation to accommodate the modern stories and characters within the jingju framework and the eventual formation of a new sense of beauty. Therefore, a thorough understanding of model jingju demands close attention to how the artists resolved actual production problems, which is a critical perspective missing in earlier studies. This book provides exactly this much-needed dimension of analysis by scrutinizing the decisions made in the real, practical context of bringing dramatic characters to life on stage and by examining how major artistic elements interacted with one other, sometimes harmoniously, sometimes antagonistically. Such an approach necessarily places jingju artists center stage. Making use of first-person accounts of the creative process, including numerous interviews conducted by the author, Fan presents a new appreciation of a lived experience that, on a harrowing journey of coping with political interference, was also filled with inspiration and excitement. --Description from the publisher.
Operas, Chinese --- Beijing operas --- Chinese operas --- Ching chü --- Jingju --- Operas, Beijing --- Operas, Peking --- Peking operas --- Pʻing chü (Chinese operas) --- Chinese drama --- Political aspects. --- History and criticism. --- China --- History --- S06/0435 --- S16/0300 --- S17/0430 --- China: Politics and government--Cultural Revolution --- China: Literature and theatrical art--Traditional theatre: studies --- China: Art and archaeology--Esthetics
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This volume is the most extensive social and cultural history of twentieth-century Huangmei Opera to date. A regional Chinese theater originating in the Anqing countryside, Huangmei Opera gained popularity with the success of the 1950s play and movie, Married to a Heavenly Immortal. Through a case study of this work, the author juxtaposes the complex process of rewriting and revising the play and movie against the rapidly changing cultural and ideological climate of the Communist theater reform movement. As a result, the traditional theme of filial piety becomes a struggle over class and free love. This volume features a full translation of the original play and its revision in the 1950s, as well as selected articles by scriptwriters, directors, performers, and critics.
Folk drama, Chinese --- Operas, Chinese --- Chinese folk drama --- Chinese drama --- Nuo operas --- Beijing operas --- Chinese operas --- Ching chü --- Jingju --- Operas, Beijing --- Operas, Peking --- Peking operas --- Pʻing chü (Chinese operas) --- Political aspects --- Censorship --- History and criticism. --- S06/0436 --- S16/0300 --- S16/0475 --- History and criticism --- China: Politics and government--Policy towards literature and art --- China: Literature and theatrical art--Traditional theatre: studies --- China: Literature and theatrical art--Popular literature (incl. fairy tales, legends) --- Tian xian pei (Huang mei xi)
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This book details the history of Chinese theatre, and British representations of Chinese theatre, on the London stage over a 250-year period. A wide range of performance case studies – from exhibitions and British Chinese opera inspired theatre, to translations of Chinese plays and visiting troupes – highlight the evolving nature of Sino-British trade, fashion, migration, the formation of diaspora, and international relations. Collectively, they outline the complex relationship between Britain and China – the rise and fall of the British Empire, and the fall and rise of China – as it was played out on the stages of London across three centuries. Drawing extensively upon archival materials and fieldwork research, the book offers new insights for intercultural British theatre in the 21st century – ‘the Asian century’.
Culture --- Ethnology --- Theater. --- Music. --- Civilization --- Cultural and Media Studies. --- Theatre and Performance Studies. --- Cultural History. --- Asian Culture. --- Study and teaching. --- Asia. --- History. --- Operas, Chinese --- Political aspects. --- Beijing operas --- Chinese operas --- Ching chü --- Jingju --- Operas, Beijing --- Operas, Peking --- Peking operas --- Pʻing chü (Chinese operas) --- Chinese drama --- Civilization-History. --- Ethnology-Asia. --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Civilization—History. --- Ethnology—Asia. --- England
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In this colorful and detailed history, Joshua Goldstein describes the formation of the Peking opera in late Qing and its subsequent rise and re-creation as the epitome of the Chinese national culture in Republican era China. Providing a fascinating look into the lives of some of the opera's key actors, he explores their methods for earning a living; their status in an ever-changing society; the methods by which theaters functioned; the nature and content of performances; audience make-up; and the larger relationship between Peking opera and Chinese nationalism. Propelled by a synergy of the commercial and the political patronage from the Qing court in Beijing to modern theaters in Shanghai and Tianjin, Peking opera rose to national prominence. The genre's star actors, particularly male cross-dressing performers led by the exquisite Mei Lanfang and the "Four Great Female Impersonators" became media celebrities, models of modern fashion and world travel. Ironically, as it became increasingly entrenched in modern commercial networks, Peking opera was increasingly framed in post-May fourth discourses as profoundly traditional. Drama Kings demonstrates that the process of reforming and marketing Peking opera as a national genre was integrally involved with process of colonial modernity, shifting gender roles, the rise of capitalist visual culture, and new technologies of public discipline that became increasingly prevalent in urban China in the Republican era.
Operas, Chinese --- Theater --- Beijing operas --- Chinese operas --- Ching chü --- Jingju --- Operas, Beijing --- Operas, Peking --- Peking operas --- Pʻing chü (Chinese operas) --- Chinese drama --- History. --- Mei, Lanfang, --- Mei, Lan-fang, --- Meilanfang, --- 梅兰芳, --- S16/0300 --- S16/0320 --- History --- China: Literature and theatrical art--Traditional theatre: studies --- China: Literature and theatrical art--Modern theatre: studies --- Théâtre --- Opéra de Pékin --- History and criticism --- Histoire --- career. --- celebrities. --- chinese history. --- cross dressing. --- cross-dressers. --- cultural anthropology. --- detailed history. --- dramatic. --- emotional rollercoaster. --- four great female impersonators. --- gender bending. --- gender roles. --- historical reenactments. --- history of china. --- history. --- intense emotion. --- intense. --- lively. --- melodrama. --- peking opera. --- performing arts. --- politics. --- qing dynasty. --- theater and opera. --- theater history. --- theatrical.
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