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. construction on her prior paintings, this new ebook specializes in quite a few types 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
25 A decade after Mao Zedong’s famous address in Yan’an (1942) on art and literature as important components of the revolutionary machine,26 Chiang adopted a similar view. ”27 Although it was already too late, Chiang was still hoping to maximize the function of art in transitional times. The Cultural Revolution (1966–76) provided the KMT with an excellent opportunity to prove the sort of conspiracy theory of nostalgia described by Svetlana Boym. ”28 It was KMT’s mission to win home back from the evil enemies, or at least to recreate home in diaspora.
My inherited status as a Mainlander gives me an opportunity to understand a minority Taiwan identity, or an ethnic subculture that is rarely addressed in transnational discourse. My research on diasporic Chinese in California shows that this local subculture also operates on a transnational level and very often has its transnational advantages. My official ethnic identity in diaspora as “Taiwanese Chinese” (Chinese but not real Chinese; a different kind of Chinese) also allows me to flirt with the identity of insider/outsider Introduction: Performing Zero 19 when interacting with various diasporic communities; my constant crossings of national borders on the Pacific Rim, as well as conversations with individuals and academic institutions in different localities, give me the illusion of holding transnational citizenship.
In this chapter, I divide Taiwan’s modern jingju roughly and practically into two groups: “Early new jingju” refers to experimentations from the 1970s through the1990s, while “Innovative Jingju” refers to a bolder approach adopted at the turn of the new millennium. A Early new jingju After 1975, the annual drama competition shifted its emphasis to newly created plays. Since the general political message remained similar, most plays created during this period were based on traditional heroic or patriotic stories glorifying Chinese nationalism and traditional values.
Alternative Chinese Opera in the Age of Globalization: Performing Zero by Daphne P. Lei (auth.)