By Daphne P. Lei (auth.)
Bringing the examine 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 a number of sorts of chinese language 'opera' in destinations round the Pacific Rim, together with Hong Kong, Taiwan and California.
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Extra info for Alternative Chinese Opera in the Age of Globalization: Performing Zero
Yang Xiaoqing and Lu Ang, who directed Mazu and Zheng Chenggong respectively, are mainland directors with experience in modernized traditional opera in the mode of Western musicals, with large casts and grand spectacles. However, Li Hsiao-Ping and Zhu Jinrong, both Taiwan-trained opera actors, worked as assistant directors for these two productions. 50 Traditional jingju was actorcentered and offered little scope for a theatre director, since all singing and movements, including blocking, were dictated by the tradition.
The fluidity (imagined or not) of my transnational academic status grants me entry into different zones in alternative Chinese opera. On the paratheatrical level, I am split half native informant, half Western ethnographer; on the theatrical level, I am half transnational spectator, half local spectator. My academic interest and bilingual and bicultural status allow me to penetrate further into alternative Chinese opera as language translator, cultural interpreter, and art negotiator. The primary “texts” under investigation in this study derive from actual “here and now” performances in the new millennium in Chinese peripheries.
Supported by money and planning from outside of the PRC, Chinese raw material and labor, and foreign consumption, the “made in China” Young Lovers’ Edition has enjoyed extraordinary success since its premiere in 2004. Transnational Chinese were the major force behind the success of the California tour in 2006, which lasted a month and included performances and educational programs on four campuses of the University of California. The transnational capitalist class thus established an alternative China that transcended boundaries of different Chinese nations, eased their nostalgia for a twice-left home, and celebrated a national identity connecting present transnational wealth and prestige with past artistic glory.
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