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. construction on her past paintings, this new ebook makes a speciality of numerous sorts 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
For Taiwan jingju circles, however, the Taiwan Trilogy was the first attempt to create something completely new, since the tradition of the genre did not offer any ready-made stories or characters that would fit the new political agenda. The challenge was enormous. Innovative Jingju in Taiwan 37 Bentuhua, literarily “nativization” or “localization,” was the main concern. ”43 “Taiwan jingju” (Taiwan Beijing opera) – this oxymoronic entity that confuses locations and artistic traditions – had deliberately to abandon its elite status and become “rustic” (tu) and localize its themes.
The unfortunate result was lasting distrust of the KMT government and division between bensheng locals and waisheng newcomers. 10 The rise of the People’s Republic of China in 1949 and the withdrawal of the KMT government to Taiwan brought the next large wave of immigration. The new diasporic population was made up of members of the government and military personnel, along with family members and many others who chose to be associated with republican China rather than communist China. 11 In the ethnic dialogue, the indigenous population, the original “owners” of Taiwan, started with little voice in political life and have had to fight for decades to claim their rightful place.
Some new plays, appearing to be “apolitical” and “feminine,” started a new epoch in jingju history in Taiwan in the last decade. I use the word “feminine” here to indicate associations with harmlessness, prettiness, romanticism, or even frivolousness. The term “effeminize” here means a deliberate effort to make jingju “feminine” (pretty and harmless), with plays about women written by women. 53 Wang An-Ch’i, artistic director of Guoguang since 2003, is the main author behind these plays, all of which center on the sorrow, romantic desires, or psychological struggles of women.