By Daphne P. Lei (auth.)
Bringing the research of chinese language theatre into the 21st-century, Lei discusses ways that conventional paintings can live on and thrive within the age of modernization and globalization. development on her past paintings, this new ebook makes a speciality of numerous types 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
In 1971 the ROC was forced out of the UN, and the PRC replaced the ROC as the single legitimate Chinese UN member. 36 On the other hand, the 1970s also saw significant economic advancement in Taiwan. Taiwan was finally on its feet and on its way to becoming one of Asia’s Four Little Dragons. Unfortunately, it was also steadily being abandoned by its international allies. People in Taiwan were experiencing a new identity crisis: did the official rhetoric of the ROC as the true heir of Chinese tradition and savior of the mainland still make sense?
The tu aesthetics struck traditional jingju audiences as strange, even alienating. Jingju itself had its start as a popular art, but its association with the Qing court and deliberate cultivation by elites in the early Republic made it into an “elegant” and “highbrow” art. ” The tu approach was an attempt to restore the vulgarity and vitality of popular culture. By adopting such an approach, Guoguang sought to bridge high and low, mainland origins and Taiwan diaspora, sacred and popular, transplanted art and local tradition.
My focus here will be Wang Youdao Divorces His Wife, Three Persons, Two Lamps and The Golden Cangue. I argue that these plays not only allow more female participation and more female themes, they also achieve new theatrical landmarks through their innovative staging and dramaturgy. Moreover, behind an apolitical “feminine” mask, these plays subtly express political concerns from the peripheries, without overtly speaking against local or central governments. I will discuss the “feminine” contribution to jingju in detail in the later part of this chapter.