Alternative Chinese Opera in the Age of Globalization: by Daphne P. Lei (auth.)

By Daphne P. Lei (auth.)

Bringing the learn of chinese language theatre into the 21st-century, Lei discusses ways that conventional artwork can continue to exist and thrive within the age of modernization and globalization. development on her prior paintings, this new e-book makes a speciality of numerous kinds of chinese language 'opera' in destinations round the Pacific Rim, together with Hong Kong, Taiwan and California.

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Additional info for Alternative Chinese Opera in the Age of Globalization: Performing Zero

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28 It was KMT’s mission to win home back from the evil enemies, or at least to recreate home in diaspora. Cold War tensions accentuated the opposition of Free China and Red China on the global level. This was the perfect moment for ROC to claim its legitimacy as the orthodox China, only “temporarily” in exile, and to claim “recovering the lost mainland” (guangfu dalu) as its ultimate goal, both domestically and internationally. To counter the Cultural Revolution, which sought to discard traditional cultures, the “Cultural Restoration” movement (Wenyi fuxing yundong) was launched in Taiwan to defend traditional cultures.

This “made in Taiwan” jingju, or “jingju without the Beijing family name” appears Introduction: Performing Zero 21 intelligent, even fashionable, to new and younger audiences of college students and young professionals. Innovative jingju posits Taiwan as the alternative center for the future of jingju. Chapter 2 focuses on a performance of the Hong Kong yueju classic, The Flower Princess: The Youth Edition. The performance, which adopted a traditional approach and used a young cast of amateurs, took place in 2007, on the tenth anniversary of Hong Kong’s “return” to mainland China and the fiftieth anniversary of the play itself.

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. All of the money-losing performances discussed here have nevertheless succeeded in some other respects: they have found new ways of artistic expression and claim to offer a model to the center’s “original sauce, original flavor” paradigm; they have also explored the possibilities of transnational collaboration in the production, consumption, and promotion of the art.

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