Download Alternative Chinese Opera in the Age of Globalization: by Daphne P. Lei PDF

By Daphne P. Lei

Bringing the examine 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. construction on her earlier paintings, this new booklet specializes in numerous types of chinese language "opera" in destinations round the Pacific Rim, together with Hong Kong, Taiwan and California.

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Read Online or Download Alternative Chinese Opera in the Age of Globalization: Performing Zero (Studies in International Performance) PDF

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Extra resources for Alternative Chinese Opera in the Age of Globalization: Performing Zero (Studies in International Performance)

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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.

His works have often been performed in the realm of intercultural theatre and at international arts venues such as the Festival d’Avignon, Le Theatre du Soleil, and Odin Teatret. 38 Both Guo and Wu received traditional training in jingju and have usually played the leading roles in their own productions. B Early Innovative Jingju 1 Background Several factors contributed to a change in the cultural and political climate in the 1980s and 1990s: hostile international relations, the realization that recovering the mainland was a hopeless task, rapid growth in GDP, the aging of Taiwan’s immigrant mainland elite, and the rise of local activists, to name a few.

Staged before an international audience, with a selected jury “voting” for the best actor, the performance served multiple purposes: it was part of a continuing effort to cultivate local talent for the aging yueju dramatic form; it showed reflective nostalgia for Hong Kong’s colonial identity and was an elegy to lost hopes for autonomy; it was an expression of ambivalence regarding the postcolonial/neocolonial situation of being “Chinese” again; it was a defiant expression of Hong Kong cultural pride in the face of Chinese nationalist hegemony.

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