Download Ascendant Peace in the Four Seas: Drama and the Qing by Xiaoqing Ye PDF

By Xiaoqing Ye

"On an autumn morning in 1793, Lord Macartney waited to be ushered into the imperial summer time retreat to participate within the party of the Qianlong Emperor's 82nd birthday. It used to be a protracted day; the social gathering drama, Ascendant Peace within the 4 Seas, lasted 5 hours. there have been many scenes of fish, turtles and different sea creatures, and Macartney guessed it should have had whatever to do with the wedding among the sea and land. He couldn't were extra wrong…" For the Qing court docket, interesting overseas viewers was once just one of the varied ritual and political reasons dramas served. Delving right into a wealthy choice of first-hand fabrics, the writer meticulously excavates and combs old information together with courtroom files, eunuchs' memoirs, pictorial records of opera costumes, and interval information. She investigates the advance of imperial drama and its effect at the Peking Opera, in addition to the functionality and procedure of imperial firms chargeable for drama. additionally mentioned are the complicated roles of the actors off and on level, and the wider problems with cultural and political impression intertwined with the performances themselves. The e-book hence offers us not just an paintings background of Peking Opera, but in addition a shiny scroll-painting of the social-cultural lifestyles either in and past the Forbidden urban.

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Additional info for Ascendant Peace in the Four Seas: Drama and the Qing Imperial Court

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Harvard Council on East Asian Studies, 1987, p. 228. 20 Chapter One Imperial Institutions for Ceremonial and Private Performances* Drama was the main form of entertainment for the emperors and the imperial family for almost the entire Qing period. 1 The organisation responsible for drama, the Nanfu 南府, was established by Kangxi to organise performances for his own personal enjoyment after his successful campaigns to consolidate Qing rule. Earlier, the Jiaofangsi 教坊司 (the Bureau of Instruction) had been responsible for both personal entertainment and state ceremonies.

Now in the performance of secular music the gong 宮 and shang 商 tones are distinguished, but sacrificial music has degenerated to a great extent. 43 The situation did not improve during the Qianlong period. ” Here he seemed to be implying that responsibility for ceremonial music was a matter for the Libu, not the Yuebu. Qianlong established the Yuebu, appointing a prince and a high official as grand ministers, and expected it to be responsible for both palace performances and ceremonial performances in the temples outside the palace.

There is no reason to reduce his income or his official rank. ” 79 Many of the apprentices of the outer school were from families resident in Peking for many generations. It was not easy for them to leave Peking at short notice. The Nanfu replied to Daoguang: According to our records, there used to be more than three hundred apprentices in the outer school. Since the second year of the present reign [1822], more than one hundred have been sent back to their native places. Now we have only 176 students in the outer school.

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