DOCSLIB.ORG

Magisterarbeit

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Magisterarbeit MAGISTERARBEIT Titel der Magisterarbeit „Kontextualisierte Betrachtung des Modellstücks Das rote Frauenbataillon als sinisiertes Hybridprodukt vor dem Hintergund der chinesischen Modernisierungsanstrengungen― Verfasserin Bakk. phil. Ulrike Kniesner angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2010 Studienkennzahl lt. Studienblatt: A 066 811 Studienrichtung lt. Studienblatt: Sinologie Betreuerin: Univ.- Prof. Dr. Susanne Weigelin-Schwiedrzik Meiner Schwester i Inhaltsverzeichnis 1 EINLEITUNG .......................................................................................................... 1 2 EXKURS: TANZ IN CHINA ................................................................................... 18 2.1 HISTORISCHER RÜCKBLICK ................................................................................................ 22 2.2 WESTLICHER IMPORT DES EURPÄISCHEN BÜHNENTANZES NACH CHINA: DIE CHINESISCHE TANZSZENE IN DER ERSTEN HÄLFTE DES 20. JAHRHUNDERTS ................................................. 25 2.2.1 Wu Xiaobang und Dai Ailian – Pioniere des Zeitgenössischen Tanzes in China ................ 29 2.3 TANZ IN CHINA UNTER MAO ZEDONG ............................................................................... 30 2.3.1 Kulturrevolutionäre Modelle an vorderster Front: Die Jahre 1966-1976 .............................. 35 2.4 TENDENZEN IM TANZ IN CHINA HEUTE: VON DEN 80ERN INS 21. JAHRHUNDERT ................ 39 3 TANZ UND POLITIK ............................................................................................. 43 3.1 „AUS WASSER WERDE WEIN― – DEBATTE ZUR FUNKTION UND FUNKTIONALISIERUNG VON TANZ ...................................................................................................................................... 45 3.2 POLITISIERUNG DES THEATRALISCHEN TANZES ................................................................. 48 3.3 AUSFORMUNGEN VON PROPAGANDA IM KONTEXT DES BALLETTS DAS ROTE FRAUENBATAILLON ................................................................................................................. 53 4 DAS MODELLBALLETT DAS ROTE FRAUENBATAILLON ............................... 57 4.1 VON DER REFORM DER KUNST NACH MAßSTÄBEN MARXISTISCH-LENINISTISCHER UND MAO ZEDONG-IDEEN ZUR REVOLUTIONSKUNST ............................................................................... 57 4.1.1 „Make it revolutionary or ban it― – Die Entstehung des Modellballetts Das rote Frauenbataillon ............................................................................................................................. 67 4.2 INHALTLICHE DARSTELLUNG DES ROTEN FRAUENBATAILLONS IN SZENISCHER ABFOLGE ... 72 4.3 DARSTELLUNGSTECHNIKEN IM BALLETT DAS ROTE FRAUENBATAILLON UNTER DEM ASPEKT „TO MAKE THE PAST SERVE THE PRESENT AND FOREIGN THINGS SERVE CHINA― ....................... 77 4.3.1 Das san tuchu-Prinzip (三突出) ........................................................................................... 85 4.3.2 Die liang xiang-Technik (亮相) ............................................................................................. 88 4.3.3 Revolutionärer Realismus und revolutionärer Romantizismus (革命现实主义与革命浪漫主义) .................................................................................................... 89 ii 5 CONCLUSIO ......................................................................................................... 93 6 BIBLIOGRAPHIE .................................................................................................. 96 7 ANHANG: ABSTRACT, CURRICULUM VITAE ................................................. 106 iii 1 Einleitung Hochgelobt und zugleich maßlos verurteilt – die chinesischen Modellopern (yangbanxi1) – Produkte der Großen Proletarischen Kulturrevolution (wuchan jieji wenhua da geming) (1966-1976)2, achtzehn an der Zahl3, stellen ein Phänomen dar, dem in der Literatur bis heute immer wieder unzählige Seiten eingeräumt wurden. Im bedingungslosen Verhältnis zur jeweils urteilfällenden Partei4 stehend, unterwirft sich nicht nur die Beschäftigung mit der Kulturrevolution im Allgemeinen, sondern auch 1 Jiang Qing, die in der Literatur vielfach direkt in Verbindung mit der Initiierung und Kreation der Modellopern gebracht wird, bemächtigte sich erstmals 1965 in diesem Kontext des Terminus ‚Modell‗: ―On 27 April 1965, […], she spoke of ‗last year‘s three models‘ (qunian san kuai yangban). […] Later published documents from the February 1966 army conference on literature and art, […] suggest that ‗leaders should personally take charge, and bring forth good models‘ (lingdaoren yao qinzi zhua, gaohao de yangban).‖ (Clark 2008:59) Die offizielle Introduktion des Terminus ‗Modellstücke‘ (yangbanxi) fällt auf den 28. November 1966, wo Kang Sheng, Vorsitzender des Kulturrevolutionskomitees, im Zuge des ‚Capital Literature and Art Circles Proletarian Cultural Revolution Meetings‗ verkündet, dass es sich bei den fünf Pekingopern Mit taktischem Geschick den Tigerberg erobern, Die rote Laterne, Seehafen, Shajiabang, und Überfall auf das Regiment Weißer Tiger, den Balletten Das weißhaarige Mädchen und Das rote Frauenbataillon, sowie der Sinfonie Shajiabang um ‗revolutionäre Modellstücke‘ (geming yangbanxi) handelt.(vgl. Clark 2008:59) 2 Die offizielle Datierung der KR umfasst den Zeitraum von 1966-1976, nichts desto trotz sei hier angemerkt das heute Theorien dazu übergehen diese Periodisierung in Hinsicht auf einzelne Aspekte der KR differenzierter zu betrachten, sei es einerseits diesen dekadischen Rahmen in kleinere Einheiten auf zu splitten, andererseits in Bezug auf spezifische Entwicklungen diesen auch zu sprengen. In diesem Zusammenhang verweist Paul Clark (2008:7) z.B. auf eine 2005 in China erschienene Publikation zum Thema Tanz in China seit 1949, deren Zäsursetzung auf die Jahre 1965, sowie 1975 entfällt. Siehe dazu u.a. auch Clark 2008:250, Esherick/Pickowicz/Walder 2006:17, Gao 2008:5; 3 In der Literatur wird häufig von 8 Modellopern gesprochen. Diese 8 bilden, nicht zuletzt auf Grund ihrer Popularität und ihres frühen Erscheinungsdatums, unumstritten den Kern der kulturrevolutionären Bühnenstücke. Zu den „8 Modellopern― zählen: Die Opern Die rote Laterne (Hong dengji), Shajiabang (Shajiabang), Mit taktischem Geschick den Tigerberg erobern (Zhiqu weihushan), Überfall auf das Regiment Weißer Tiger (Qixi baihutuan), Seehafen (Haigang), die Ballette Das weißhaarige Mädchen (Baimaonü), Das rote Frauenbataillon (Hongse niangzijun) und die Sinfonie Shajiabang (Shajiabang). Darüberhinaus ist zu bemerken, dass einzelne Sujets oft auch mehrmals in unterschiedlichen Versionen, sprich Oper, Ballett, Sinfonie unter demselben Namen neu adaptiert wurden. Die Zahl der Modellopern beläuft sich tatsächlich insgesamt auf achtzehn Werke, darunter: Die Opern Die rote Laterne (Hong dengji), Das Dorf Shajiabang (Shajiabang), Mit taktischem Geschick den Tigerberg erobern (Zhiqu weihushan), Überfall auf das Regiment Weißer Tiger (Qixi baihutuan) und das Ballett Das rote Frauenbataillon (Hongse niangzijun), die Oper Seehafen (Haigang), die Sinfonie Das Dorf Shajiabang (Shajiabang), das Ballett Das weißhaarige Mädchen (Baimaonü), das Klavierkonzert mit Gesang Die rote Laterne (Hong dengji), das Klavierkonzert Der gelbe Fluß (Huanghe), die Oper Das rote Frauenbataillon (Hongse niangzijun), die Oper Kampf in der Ebene (Pingyuan zuo zhan), das Ballett Ode an den Berg Yimeng (Yimeng song), das Ballett Kinder des Graslandes (Caoyuan ernü); 1972: Die Oper Ode an den Drachenfluß (Longjian song); 1973: Die Oper Azaleenberg (Dujuanshan), die Sinfonie Mit taktischem Geschick den Tigerberg erobern (Zhiqu weihushan); 1975: Die Oper Felsenbucht (Panshiwan); (vgl. Mittler in: http://www.sino.uni- heidelberg.de/staff/mittler/list_ybx.htm, Michel 1982:147) 4 „Partei― wird hier in seiner allgemeinen Definition bezugnehmend auf die partizipierenden Akteure gebraucht, d.h. in diesem Fall die Urheber der schriftlichen Urteile, und nicht bezugnehmend auf die Kommunistische Partei. 1 die hier zur Diskussion vorliegende spezifische Thematik bis heute in erster Linie einem jeweils politisch motiviertem Diskurs, was gleichermaßen auf chinesische, sowie auf westliche Rezeptionen der KR und spezifischer mit der KR in Relation gebrachter Phänomene zutrifft, wobei sich einzelne Autoren dieser Tatsache nicht immer gewahr zu sein scheinen. Dieses spiegelt sich folglich in der Praxis einer Auseinandersetzung mit der KR insofern wieder, als dass sich der Großteil der Literatur zum Thema Kulturrevolution bislang vorrangig zwar Beschreibungen von Ereignissen, persönlicher Kämpfe Einzelner und intriganter Machenschaften im Politapparat widmet, gleichzeitig aber umstrittene politische und sozio-ökonomische Belange der Gesellschaft dieser Zeit ignoriert. Diese Ausführungen rechtfertigen auf der einen Seite die aktuellen Ansichten und Meinungen ihrer Autoren, auf der anderen Seite unterschlagen sie dabei aber unangenehme historische Fakten und fördern damit Assoziationen an eine in der Pekingoper bevorzugten Darstellungspraxis – der schwarz-weiß-Malerei. Analog zur Idee, dass unverfälscht Gutes im Kontrast zu leibhaftig Bösem steht, werden so legitime kontestierende Erinnerungen untergraben. (vgl. Gao 2008:10) Bezogen auf die kulturrevolutionären Bühnenwerke, die hier den Fokus bilden sollen, gehen die Auseinandersetzungen selten über Beschreibungen einerseits der Stücke selbst, andererseits der im Schaffungsprozess involvierten Personen hinaus. Von der Abwesenheit einer tiefergreifenden
Load more

Recommended publications
  • Nutcracker Three Hundred Sixty-Seventh Program of the 2012-13 Season ______Indiana University Ballet Theater Presents
    2012/2013 Peter Ilyich Tchaikovsky NutcrackerThe Three Hundred Sixty-Seventh Program of the 2012-13 Season _______________________ Indiana University Ballet Theater presents its 54th annual production of Peter Ilyich Tchaikovsky’s The Nutcracker Ballet in Two Acts Scenario by Michael Vernon, after Marius Petipa’s adaptation of the story, “The Nutcracker and the Mouse King” by E. T. A. Hoffmann Michael Vernon, Choreography Andrea Quinn, Conductor C. David Higgins, Set and Costume Designer Patrick Mero, Lighting Designer Gregory J. Geehern, Chorus Master The Nutcracker was first performed at the Maryinsky Theatre of St. Petersburg on December 18, 1892. _________________ Musical Arts Center Friday Evening, November Thirtieth, Eight O’Clock Saturday Afternoon, December First, Two O’Clock Saturday Evening, December First, Eight O’Clock Sunday Afternoon, December Second, Two O’Clock music.indiana.edu The Nutcracker Michael Vernon, Artistic Director Choreography by Michael Vernon Doricha Sales, Ballet Mistress Guoping Wang, Ballet Master Shawn Stevens, Ballet Mistress Phillip Broomhead, Guest Coach Doricha Sales, Children’s Ballet Mistress The children in The Nutcracker are from the Jacobs School of Music’s Pre-College Ballet Program. Act I Party Scene (In order of appearance) Urchins . Chloe Dekydtspotter and David Baumann Passersby . Emily Parker with Sophie Scheiber and Azro Akimoto (Nov. 30 & Dec. 1 eve.) Maura Bell with Eve Brooks and Simon Brooks (Dec. 1 mat. & Dec. 2) Maids. .Bethany Green and Liara Lovett (Nov. 30 & Dec. 1 eve.) Carly Hammond and Melissa Meng (Dec. 1 mat. & Dec. 2) Tradesperson . Shaina Rovenstine Herr Drosselmeyer . .Matthew Rusk (Nov. 30 & Dec. 1 eve.) Gregory Tyndall (Dec. 1 mat.) Iver Johnson (Dec.
    [Show full text]
  • 9789004250994.Pdf
    Fragmenting Modernisms China Studies Edited by Glen Dudbridge Frank Pieke VOLUME 24 The titles published in this series are listed at brill.com/CHS Fragmenting Modernisms Chinese Wartime Literature, Art, and Film, 1937–49 By Carolyn FitzGerald LEIDEn • bOSTON 2013 Cover illustration: Ye Qianyu, “Stage Set,” from the 1940 sketch-cartoon series Wartime Chongqing. Library of Congress Cataloging-in-Publication Data FitzGerald, Carolyn. Fragmenting modernisms : Chinese wartime literature, art, and film, 1937-49 / by Carolyn FitzGerald. pages cm. — (China studies ; v. 24) Includes bibliographical references and index. ISBN 978-90-04-25098-7 (hardback : alk. paper) — ISBN 978-90-04-25099-4 (e-book) 1. Chinese literature—20th century—History and criticism. 2. Sino-Japanese War, 1937–1945—Literature and the war. 3. Sino-Japanese War, 1937–1945—Art and the war. 4. China—History—Civil War, 1945–1949—Literature and the war. 5. China—History— Civil War, 1945–1949—Art and the war. 6. Motion pictures—China—History—20th century. 7. Art, Chinese—20th century. 8. Modernism (Literature)—China. 9. Modernism (Art)— China. I. Title. PL2302.F58 2013 895.1’09005—dc23 2013003681 This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, IPA, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/brill-typeface. ISSN 1570-1344 ISBN 978-90-04-25098-7 (hardback) ISBN 978-90-04-25099-4 (e-book) Copyright 2013 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Global Oriental, Hotei Publishing, IDC Publishers and Martinus Nijhoff Publishers.
    [Show full text]
  • HKUST Institutional Repository
    The Dance of Revolution: Yangge in Beijing in the Early 1950s* Chang-tai Hung ABSTRACT Yangge is a popular rural dance in north China. In the Yan’an era (1936–47) the Chinese Communist Party used the art form as a political tool to influence people’s thinking and to disseminate socialist images. During the early years of the People’s Republic of China, the Communists introduced a simpler form of yangge in the cities. In three major yangge musicals performed in Beijing, the Party attempted to construct “a narrative history through rhythmic movements” in an effort to weave the developments of the Party’s history into a coherent success story, affirming various themes: the support of the people, the valour of the Red Army, the wise leadership of the Party and the country’s bright future. However, urban yangge’s simplicity as an art form, the professionalization of art troupes, the nation’s increas- ing exposure to a variety of alternative dance forms and, worse still, stifling government control all contributed to the rapid decline of this art form in urban China. Unlike the Bolsheviks, who at the time of the October Revolution of 1917 had little experience with political art forms, the Chinese Communists, before their seizure of power in 1949, had skilfully employed the popular art media to conduct an effective propaganda campaign among the mostly illiterate peasant inhabitants of rural China. The story of their use of such rural art forms as storytelling and yangge dance as a political tool during the Yan’an era (1936–47) is now relatively well known.1 Yet their use in the post-Yan’an period, particularly after the establishment of the Peo- ple’s Republic of China (PRC) in1949, has rarely been examined.
    [Show full text]
  • Nutcracker 5 Three Hundred Eighty-Second Program of the 2013-14 Season ______
    2013/2014 5 The Nutcracker Peter Ilyich Tchaikovsky Three Hundred Eighty-Second Program of the 2013-14 Season _______________________ Indiana University Ballet Theater as its 55th annual production of Peter Ilyich Tchaikovsky’s The Nutcracker Ballet in Two Acts Scenario by Michael Vernon, after Marius Petipa’s adaptation of the story “The Nutcracker and the Mouse King” by E. T. A. Hoffman Michael Vernon, Choreography Philip Ellis, Conductor C. David Higgins, Set and Costume Design Patrick Mero, Lighting Design The Nutcracker was first performed at the Maryinsky Theatre of St. Petersburg on December 18, 1892. ____________ Musical Arts Center Thursday vening,E December Fifth, Seven O’Clock Friday Evening, December Sixth, Eight O’Clock Saturday Afternoon, December Seventh, Two O’Clock Saturday Evening, December Seventh, Eight O’Clock Sunday Afternoon, December Eighth, Two O’Clock music.indiana.edu The Nutcracker Michael Vernon, Artistic Director Choreography by Michael Vernon Guoping Wang, Ballet Master Shawn Stevens, Ballet Mistress Doricha Sales, Ballet Mistress & Children’s Ballet Mistress The children performing in The Nutcracker are from the Jacobs School of Music Pre-College Ballet Program. MENAHEM PRESSLER th 90BIRTHDAY CELEBRATION Friday, Dec. 13 8pm | Musical Arts Center | $10 Students $20 Regular The Jacobs School of Music will celebrate the 90th birthday of Distinguished Professor Menahem Pressler with a concert that includes performances by violinist Daniel Hope, cellist David Finckel, pianist Wu Han, the Emerson String Quartet, and the master himself! Chat online with the legendary pianist! Thursday, Dec. 12 | 8pm music.indiana.edu/celebrate-pressler For concert tickets, visit the Musical Arts Center Box Office: (812) 855-7433, or go online to music.indiana.edu/boxoffice.
    [Show full text]
  • From Trinidad to Beijing Dai Ailian and the Beginnings of Chinese Dance
    1 From Trinidad to Beijing Dai Ailian and the Beginnings of Chinese Dance Dong d-dong, dong d-dong. A gong sounds as the camera fixes on an empty stage set with an arched footbridge and blossoming tree branch. Dai Ailian emerges dressed in a folkloric costume of red balloon pants and a rose-colored silk jacket, a ring of red flowers in her hair and shoes topped with red pom-poms. Puppetlike, two false legs kick out from under the back of Dai’s jacket, while the false torso and head of an old man hunch forward in front of her chest, creating the illusion of two characters: an old man carrying his young wife on his back. This dance is Dai’s adaptation of “The Mute Carries the Cripple” (Yazi bei feng), a comic sketch performed in several regional variations of xiqu, or Chinese traditional theater (video 1). This particular version is derived from Gui opera(Guiju), a type of xiqu specific to Guangxi Autonomous Region in south China. Dai demonstrates her dance skill by isolating her upper body and lower body, so that her pelvis and legs convincingly portray the movements of an old man while her torso, arms, and head those of a young woman. As the man, Dai takes wide sweeping steps, kicking, squatting, and balancing with her feet flexed and knees bent between steps, occa- sionally lurching forward as if struggling to balance under the weight of the female rider. As the woman, Dai grips the old husband’s shoulders with one hand while she lets her head bob from side to side, her eyes sparkling as she uses her free hand to twirl a fan, point to things in her environment, and dab the old man’s forehead with a handkerchief.
    [Show full text]
  • When Folk Dance Was Radical: Cold War Yangge, World Youth Festivals, and Overseas Chinese Leftist Culture in the 1950S and 1960S
    China Perspectives 2020-1 | 2020 Sights and Sounds of the Cold War in Socialist China and Beyond When Folk Dance Was Radical: Cold War Yangge, World Youth Festivals, and Overseas Chinese Leftist Culture in the 1950s and 1960s Emily Wilcox Electronic version URL: https://journals.openedition.org/chinaperspectives/9947 DOI: 10.4000/chinaperspectives.9947 ISSN: 1996-4617 Publisher Centre d'étude français sur la Chine contemporaine Printed version Date of publication: 1 March 2020 Number of pages: 33-42 ISSN: 2070-3449 Electronic reference Emily Wilcox, “When Folk Dance Was Radical: Cold War Yangge, World Youth Festivals, and Overseas Chinese Leftist Culture in the 1950s and 1960s”, China Perspectives [Online], 2020-1 | 2020, Online since 01 March 2021, connection on 02 July 2021. URL: http://journals.openedition.org/ chinaperspectives/9947 ; DOI: https://doi.org/10.4000/chinaperspectives.9947 © All rights reserved Special feature china perspectives When Folk Dance Was Radical: Cold War Yangge, World Youth Festivals, and Overseas Chinese Leftist Culture in the 1950s and 1960s EMILY WILCOX ABSTRACT: This article challenges three common assumptions about Chinese socialist-era dance culture: first, that Mao-era dance rarely circulated internationally and was disconnected from international dance trends; second, that the yangge movement lost momentum in the early years of the People’s Republic of China (PRC); and, third, that the political significance of socialist dance lies in content rather than form. This essay looks at the transformation of wartime yangge into PRC folk dance during the 1950s and 1960s and traces the international circulation of these new dance styles in two contexts: the World Festivals of Youth and Students in Eastern Europe, and the schools, unions, and clan associations of overseas Chinese communities in Hong Kong, Singapore, Malaysia, and San Francisco.
    [Show full text]
  • Performance Program
    Dance Visions 2020 Choreography by Lar Lubovitch UCI Claire Trevor School of the Arts Photo by Rose Eichenbaum DANCE VISIONS 2021 Artistic Directors Molly Lynch and Tong Wang February 25-27, 2021 8:00 p.m. PST University of California, Irvine Dr. Stephen Barker, Dean | Claire Trevor School of the Arts ARTISTIC DIRECTOR’S MESSAGE On behalf of the UCI Claire Trevor School of the Arts — Department of Dance, we are delighted to welcome you to our virtual production of “Dance Visions 2021!” Despite the many challenges this year, the creative process between choreographers and dancers allows for many interesting and diverse ideas to be expressed through movement. The outstanding choreographers included in this performance are professors Lindsay Gilmour, Chad Michael Hall, Ariyan Johnson, Vitor Luiz, Molly Lynch, Lisa Naugle, S. Ama Wray in collaboration with Alan Terricciano, and Distinguished Professor Lar Lubovitch. This production would not be possible without the joint effort of our highly regarded colleagues in the Department of Drama — Design and Stage Management Programs. Their talent and commitment help bring the artists’ visions to fruition. Together, the Dance Visions artistic team continues our tradition of excellence in dance, keeping the UCI Dance department at the forefront of education and performance both nationally and internationally. We would also like to thank all the Department of Dance donors. We are grateful for the many scholarships that are awarded to our students and support for the dance productions. It is extremely important for our dancers! We are all deeply saddened by the passing of one of our major supporters, Mr.
    [Show full text]
  • Spring Ballet
    Six Hundred Fifty-Fifth Program of the 2014-15 Season _______________________ Indiana University Ballet Theater presents Spring Ballet Swan Lake (Act II) Choreography by George Balanchine Staged by Patricia Blair and Daniel Duell Music by Peter Ilyich Tchaikovsky Duets Choreography by Merce Cunningham Staged by Banu Ogan Music by John Cage Rubies Choreography by George Balanchine Staged by Paul Boos Music by Igor Stravinsky Michael Vernon, Artistic Director, IU Ballet Theater Stuart Chafetz, Conductor Patrick Mero, Lighting Design _________________ Musical Arts Center Friday Evening, March Twenty-Seventh, Eight O’Clock Saturday Afternoon, March Twenty-Eighth, Two O’Clock Saturday Evening, March Twenty-Eighth, Eight O’Clock music.indiana.edu Swan Lake (Act II) Choreography by George Balanchine* ©The George Balanchine Trust Music by Peter Ilyich Tchaikovsky Original Scenery and Costumes by Rouben Ter-Arutunian Premiere: November 20, 1951 | New York City Ballet City Center of Music and Drama Staged by Patricia Blair and Daniel Duell Stuart Chafetz, Conductor Violette Verdy, Principal Coach Shawn Stevens, Ballet Mistress Guoping Wang, Ballet Master Odette, Queen of the Swans Raffaella Stroik (3/27) Elizabeth Edwards (3/28 mat ) Natalie Nguyen (3/28 eve ) Prince Siegfried Matthew Rusk (3/27) Colin Ellis (3/28 mat ) Andrew Copeland (3/28 eve ) Swans Bianca Allanic, Mackenzie Allen, Margaret Andriani, Caroline Atwell, Morgan Buchart, Colleen Buckley, Danielle Cesanek, Leah Gaston (3/28), Bethany Green (3/28 eve ), Rebecca Green, Cara Hansvick
    [Show full text]
  • The Dialectics of Virtuosity: Dance in the People's Republic of China
    The Dialectics of Virtuosity: Dance in the People’s Republic of China, 1949-2009 by Emily Elissa Wilcox A dissertation submitted in partial satisfaction of the requirements for the degree of Joint Doctor of Philosophy with the University of California, San Francisco in Medical Anthropology of the University of California, Berkeley Committee in charge: Professor Xin Liu, Chair Professor Vincanne Adams Professor Alexei Yurchak Professor Michael Nylan Professor Shannon Jackson Spring 2011 Abstract The Dialectics of Virtuosity: Dance in the People’s Republic of China, 1949-2009 by Emily Elissa Wilcox Joint Doctor of Philosophy with the University of California, San Francisco in Medical Anthropology University of California, Berkeley Professor Xin Liu, Chair Under state socialism in the People’s Republic of China, dancers’ bodies became important sites for the ongoing negotiation of two paradoxes at the heart of the socialist project, both in China and globally. The first is the valorization of physical labor as a path to positive social reform and personal enlightenment. The second is a dialectical approach to epistemology, in which world-knowing is connected to world-making. In both cases, dancers in China found themselves, their bodies, and their work at the center of conflicting ideals, often in which the state upheld, through its policies and standards, what seemed to be conflicting points of view and directions of action. Since they occupy the unusual position of being cultural workers who labor with their bodies, dancers were successively the heroes and the victims in an ever unresolved national debate over the value of mental versus physical labor.
    [Show full text]
  • DAF Media Release Neal and Massy Foundation
    MEDIA RELEASE NEAL & MASSY FOUNDATION SUPPORTS THE DAI AILIAN FOUNDATION The Neal & Massy Foundation is the first local organisation to support the Dai Ailian Foundation. The Dai Ailian Foundation was formed last year to honour and 7 St. Ann’s Road promote the life and work of Dai Ailian who was born in Trinidad in 1916 and is St. Ann’s Trinidad, W.I. internationally acclaimed and highly revered in the People’s Republic of China. (868) 624-7150 The International Theatre Institute, Paris, France, will honour Madam Dai in their th 30 Anniversary publication for International Dance Day at UNESCO this year. One of the Dai Ailian Foundation’s objectives is to offer performing arts scholarships and two young dancers, Juan Pablo Alba Dennis from Port of Spain, and Seon Nurse from Laventille, were awarded 1-year dance scholarships at the prestigious Beijing Dance Academy in Beijing, the People’s Republic of China, commencing last September and finishing July 2012. The Dai Ailian Foundation is proud of these two young men – the Beijing Dance Academy is impressed with their talent and application to work and Juan Pablo and Seon are enjoying their learning and cultural experiences while at the same time being great Trinidad and Tobago ambassadors. The Neal & Massy Foundation, formed in 1979, is a very successful Non- Government Organisation that practices good corporate social responsibility by their support of numerous projects and annual grants to charitable organisations such as the Dai Ailian Foundation. The Dai Ailian Foundations sincerely thanks the Neal & Massy Foundation for their support on behalf of the two scholarship winners.
    [Show full text]
  • The Nutcracker Ballet in Two Acts
    _____________________ Four Hundred Nineteenth Program of the 2010-11 Season Indiana University Ballet Theater presents its 52nd annual production of Peter Ilyich Tchaikovsky’s The Nutcracker Ballet in Two Acts Scenario by Michael Vernon, after Marius Petipa’s adaptation of the story, “Nutcracker and the King of the Mice” by E. T. A. Hoffmann Michael Vernon, Choreography Jorge Mariano Carciofolo, Conductor C. David Higgins, Set Design C. David Higgins and Robert O’Hearn, Costume Design Michael Schwandt, Lighting Designer The Nutcracker was first performed at the Maryinsky Theatre of St. Petersburg on December 18, 1892. ___________________________ Musical Arts Center Friday Evening, December Third, Eight O’Clock Saturday Afternoon, December Fourth, Two O’Clock Saturday Evening, December Fourth, Eight O’Clock Sunday Afternoon, December Fifth, Two O’Clock music.indiana.edu The Nutcracker Michael Vernon, Artistic Director Choreography by Michael Vernon Doricha Sales, Ballet Mistress & Children’s Ballet Mistress Guoping Wang, Ballet Master Violette Verdy, Principals’ Coach Sophia Fatouros, Assistant to the Children’s Ballet Mistress The children in The Nutcracker are from The Jacobs School of Music’s Pre-College Ballet Program. Act I Party Scene (In order of appearance) Urchins . Gabrielle Barker & Benjamin LoPilato (Dec. 3 & 4 eve.) Kate Shapiro & Benjamin LoPilato (Dec. 4 mat. & 5) Passersby . Colleen Kerwin with Alysse Biller & David Baumann (Dec. 3 & 5 eve.) Colleen Kerwin with Madeline Elkins & David Baumann (Dec. 4 mat. & 5) Maids . Miriam-Rose LeDuc & Elisabeth Martin (Dec. 3 & 5) Mary-Quinn Aber & Alison Korloy (Dec. 4) Tradesman . Patrick Trigg Herr Drosselmeyer . Iver Johnson (Dec. 3 & 4 eve.) Christopher Lingner (Dec.
    [Show full text]
  • Screening Love: the Cinematic Representation of the Cultural
    Screening Love: The Cinematic Representation of the Cultural Revolution, 1980s to Early 1990s Jingyi Lu Faculty Advisor: Guo-juin Hong Asian and Middle Eastern Studies May 2017 This project was submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate Liberal Studies Program in the Graduate School of Duke University. Copyright by Jingyi Lu May 2016 LU III Abstract The ten-year Cultural Revolution exerts a tremendous influence on the domain of cultural production in contemporary China. After the Cultural Revolution, many filmmakers delved into the representation of this traumatic historical period and produced relevant films in the 1980s – 1990s. In these films, the motif of love is frequently employed to embody the impact of the Cultural Revolution on interpersonal relationships. What types of love relations do these films represent? How do the modes of love change over time? How do these films represent the Cultural Revolution and identify the root causes of this disastrous time? In this essay, to answer the above questions, I will explore the changing representation of love relations in the films about the Cultural Revolution: the scar films (also called post-socialist films) that prevailed in the 1980s feature romantic love, while The Blue Kite, Farewell, My Concubine and To Live directed by the fifth-generation filmmakers in the early 1990s mainly display family love. By looking into the cinematic interpretation of the Cultural Revolution, I will gain insight into the social and cultural environment in that two decades, and show that the films produced in these two different periods seek greater authenticity in representing that historical period and gradually break away from state ideology and propaganda.
    [Show full text]