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Globalization and Theater Spectacles in Asia
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 15 (2013) Issue 2 Article 22 Globalization and Theater Spectacles in Asia I-Chun Wang National Sun Yat-sen University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the American Studies Commons, Comparative Literature Commons, Education Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Reading and Language Commons, Rhetoric and Composition Commons, Social and Behavioral Sciences Commons, Television Commons, and the Theatre and Performance Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Wang, I-Chun. -
SILK ROAD: the Silk Road
SILK ROAD: The Silk Road (or Silk Routes) is an extensive interconnected network of trade routes across the Asian continent connecting East, South, and Western Asia with the Mediterranean world, as well as North and Northeast Africa and Europe. FIDDLE/VIOLIN: Turkic and Mongolian horsemen from Inner Asia were probably the world’s earliest fiddlers (see below). Their two-stringed upright fiddles called morin khuur were strung with horsehair strings, played with horsehair bows, and often feature a carved horse’s head at the end of the neck. The morin khuur produces a sound that is poetically described as “expansive and unrestrained”, like a wild horse neighing, or like a breeze in the grasslands. It is believed that these instruments eventually spread to China, India, the Byzantine Empire and the Middle East, where they developed into instruments such as the Erhu, the Chinese violin or 2-stringed fiddle, was introduced to China over a thousand years ago and probably came to China from Asia to the west along the silk road. The sound box of the Ehru is covered with python skin. The erhu is almost always tuned to the interval of a fifth. The inside string (nearest to player) is generally tuned to D4 and the outside string to A4. This is the same as the two middle strings of the violin. The violin in its present form emerged in early 16th-Century Northern Italy, where the port towns of Venice and Genoa maintained extensive ties to central Asia through the trade routes of the silk road. The violin family developed during the Renaissance period in Europe (16th century) when all arts flourished. -
Kūnqǔ in Practice: a Case Study
KŪNQǓ IN PRACTICE: A CASE STUDY A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THEATRE OCTOBER 2019 By Ju-Hua Wei Dissertation Committee: Elizabeth A. Wichmann-Walczak, Chairperson Lurana Donnels O’Malley Kirstin A. Pauka Cathryn H. Clayton Shana J. Brown Keywords: kunqu, kunju, opera, performance, text, music, creation, practice, Wei Liangfu © 2019, Ju-Hua Wei ii ACKNOWLEDGEMENTS I wish to express my gratitude to the individuals who helped me in completion of my dissertation and on my journey of exploring the world of theatre and music: Shén Fúqìng 沈福庆 (1933-2013), for being a thoughtful teacher and a father figure. He taught me the spirit of jīngjù and demonstrated the ultimate fine art of jīngjù music and singing. He was an inspiration to all of us who learned from him. And to his spouse, Zhāng Qìnglán 张庆兰, for her motherly love during my jīngjù research in Nánjīng 南京. Sūn Jiàn’ān 孙建安, for being a great mentor to me, bringing me along on all occasions, introducing me to the production team which initiated the project for my dissertation, attending the kūnqǔ performances in which he was involved, meeting his kūnqǔ expert friends, listening to his music lessons, and more; anything which he thought might benefit my understanding of all aspects of kūnqǔ. I am grateful for all his support and his profound knowledge of kūnqǔ music composition. Wichmann-Walczak, Elizabeth, for her years of endeavor producing jīngjù productions in the US. -
Recent Publications in Music 2010
Fontes Artis Musicae, Vol. 57/4 (2010) RECENT PUBLICATIONS IN MUSIC R1 RECENT PUBLICATIONS IN MUSIC 2010 Compiled and edited by Geraldine E. Ostrove On behalf of the Pour le compte de Im Auftrag der International l'Association Internationale Internationalen Vereinigung Association of Music des Bibliothèques, Archives der Musikbibliotheken, Libraries Archives and et Centres de Musikarchive und Documentation Centres Documentation Musicaux Musikdokumentationszentren This list contains citations to literature about music in print and other media, emphasizing reference materials and works of research interest that appeared in 2009. It includes titles of new journals, but no journal articles or excerpts from compilations. Reporters who contribute regularly provide citations mainly or only from the year preceding the year this list is published in Fontes Artis Musicae. However, reporters may also submit retrospective lists cumulating publications from up to the previous five years. In the hope that geographic coverage of this list can be expanded, the compiler welcomes inquiries from bibliographers in countries not presently represented. CONTRIBUTORS Austria: Thomas Leibnitz New Zealand: Marilyn Portman Belgium: Johan Eeckeloo Nigeria: Santie De Jongh China, Hong Kong, Taiwan: Katie Lai Russia: Lyudmila Dedyukina Estonia: Katre Rissalu Senegal: Santie De Jongh Finland: Tuomas Tyyri South Africa: Santie De Jongh Germany: Susanne Hein Spain: José Ignacio Cano, Maria José Greece: Alexandros Charkiolakis González Ribot Hungary: Szepesi Zsuzsanna Tanzania: Santie De Jongh Iceland: Bryndis Vilbergsdóttir Turkey: Paul Alister Whitehead, Senem Ireland: Roy Stanley Acar Italy: Federica Biancheri United Kingdom: Rupert Ridgewell Japan: Sekine Toshiko United States: Karen Little, Liza Vick. The Netherlands: Joost van Gemert With thanks for assistance with translations and transcriptions to Kersti Blumenthal, Irina Kirchik, Everett Larsen and Thompson A. -
Qinqiang Opera Drama Costume Connotation and Aesthetic
2nd International Conference on Education Technology, Management and Humanities Science (ETMHS 2016) Qinqiang opera drama costume connotation and aesthetic implication 1, a Yugang Chen 1Jiangxi Institute of Fashion Technology, Jiangxi, Nanchang, 330201 [email protected] Keywords: Qinqiang opera drama; Clothing; The cultural connotation Abstract. Qinqiang opera drama is one of the most exquisite stylized performance of traditional Chinese local operas. Qinqiang opera drama clothing, and other theatrical performances of traditional clothing similarity is exquisite and stylized, decorative effect as well as the audiences in the symbolization of abstract feelings, dramatic clothes in qinqiang opera drama very expressive aesthetics and art. Introduction Qinqiang opera drama as a traditional Chinese drama conductions, its dramatic clothes also represents the character appearance of traditional drama clothing, under the stylized costumes or wear shows of the respect and inheritance on traditional culture. Studies of qinqiang opera costume for one of the models, style characteristic, found that it contains the cultural connotation and aesthetic implication, the essence of traditional clothing, for the development of qinqiang opera drama has a positive and far-reaching significance. The formation of Qinqiang opera drama clothing Qin has been active in shanxi, gansu and the northwest region is the vast land of an ancient opera. The earliest qinqiang opera originated in shanxi guanzhong area, from the perspective of the change of type c, Qin Sheng, qin three stages. In the qianlong period reached for her best. From the point of geography, shanxi, gansu, ningxia, qinghai, xinjiang northwest five provinces close to geographical culture, so the ancient qin, with its wide sound big voice spoke quickly popular in this area. -
TV Show Knows What's in Your Fridge Is Food for Thought
16 | Wednesday, June 17, 2020 HONG KONG EDITION | CHINA DAILY YOUTH ometimes you have to travel didn’t enjoy traditional Chinese to appreciate your own. music that much until he pursued his Sometimes, waking up in a music studies in the United States. foreign land gives you a pre- When leaving China, he took with Scious insight into your own country. him the hulusi, a kind of Chinese Fang Songping is a musician and wind instrument made from a has traveled but when he was at gourd, and played it recreationally home with his pipa-player father, in the college. The exotic sound of Fang Jinlong, he preferred Western the instrument won him lots of fans rock. and requests to perform on stage. It was hulusi, the gourd-like Then he started researching about instrument, that really changed his traditional Chinese music and com- life. He happened to bring it to Los bining elements of it into his own Angeles, while studying music there. compositions. In 2015, he returned His classmates were fascinated to China and started his career as an when he played music with it, and a indie musician. new horizon opened up before him. Now, Fang Songping works as the According to a recent report on music director of a popular reality traditional Chinese music, young show, Gems of Chinese Poetry, Chinese people are turning their which centers on traditional Chi- attention to traditional arts. More nese arts, such as poetry, music, and more are listening to traditional dance and paintings. He composed Chinese music. eight original instrumental pieces, The report was released on June inspired by traditional Chinese cul- 2, under the guidance of the China ture, like music, chess, calligraphy Association of Performing Arts, by and paintings. -
Music at Application of Makeup That Transforms the Actress Into Qiao Xiao-Qin
time and becoming the main character in the ancient Friday, May 23, 2014 story – Du Li-Niang. The performance features 8:00 p.m., Concert Hall Carleton College superstar Kunqu Opera actress Shen Yi-Li from Carleton Choir Concert Shanghai, accompanied by top professional performers Something Like A Star of Chinese traditional instruments. The first half of Lawrence Burnett, conductor the evening includes live music accompanying the Julian Pozniak, student conductor Music at application of makeup that transforms the actress into Qiao Xiao-Qin. This provides the audience a rare Lawrence Burnett conducts a program of choral opportunity to view live on stage this amazing makeup favorites on the theme of earth and sky. Senior process that is such an important part of Chinese music major Julian Pozniak conducts Vivaldi’s traditional opera. Gloria to culminate his years of musical leadership Carleton in the choral ensembles. Co - Sponsored by the Department of Asian Studies, the Office of the Director of Arts, and the Department Spring 2014 of Music Wednesday, May 28, 2014 7:00 p.m., Concert Hall Sunday, April 27, 2014 Saturday, April 5, 2014 7:30 p.m., Concert Hall Piano Studios Recital 2:20 – 3:00 p.m., Mall of America - Nicola Melville, coordinator Sears Rotunda Guest Artist Concert Mass Appeal 7th Annual A Passage to China: Thursday, May 29, 2014 Music of East Asia I Cantanti Chamber Choirs, Wayne Kivell, conductor 12:10 p.m., Concert Hall Chinese Music Ensemble, Student Chamber Music Recital I Gao Hong, director The concert features settings of the modern Mass, all Nicola Melville, coordinator Carleton Singers, composed in the last 50 years. -
Preliminary Pages
UNIVERSITY OF CALIFORNIA Los Angeles Ascending the Hall of Great Elegance: the Emergence of Drama Research in Modern China A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Hsiao-Chun Wu 2016 © Copyright by Hsiao-Chun Wu 2016 ABSTRACT OF THE DISSERTATION Ascending the Hall of Great Elegance: the Emergence of Drama Research in Modern China by Hsiao-Chun Wu Doctor of Philosophy in History University of California, Los Angeles, 2016, Professor Andrea Sue Goldman, Chair This dissertation captures a critical moment in China’s history when the interest in opera transformed from literati divertissement into an emerging field of scholarly inquiry. Centering around the activities and writings of Qi Rushan (1870-1962), who played a key role both in reshaping the modes of elite involvement in opera and in systematic knowledge production about opera, this dissertation explores this transformation from a transitional generation of theatrical connoisseurs and researchers in early twentieth-century China. It examines the many conditions and contexts in the making of opera—and especially Peking opera—as a discipline of modern humanistic research in China: the transnational emergence of Sinology, the vibrant urban entertainment market, the literary and material resources from the past, and the bodies and !ii identities of performers. This dissertation presents a critical chronology of the early history of drama study in modern China, beginning from the emerging terminology of genre to the theorization and the making of a formal academic discipline. Chapter One examines the genre-making of Peking Opera in three overlapping but not identical categories: temporal, geographical-political, and aesthetic. -
National Endowment for the Arts Annual Report 1993
L T 1 TO THE CONGRESS OF THE UNITED STATES: It is my special pleasure to transmit herewith the Annual Report of the National Endowment for the Arts for the fiscal year 1993. The National Endowment for the Arts has awarded over 100,000 grants since 1965 for arts projects that touch every community in the Nation. Through its grants to individual artists, the agency has helped to launch and sustain the voice and grace of a generation--such as the brilliance of Rita Dove, now the U.S. Poet Laureate, or the daring of dancer Arthur Mitchell. Through its grants to art organizations, it has helped invigorate community arts centers and museums, preserve our folk heritage, and advance the perform ing, literary, and visual arts. Since its inception, the Arts Endowment has believed that all children should have an education in the arts. Over the past few years, the agency has worked hard to include the arts in our national education reform movement. Today, the arts are helping to lead the way in renewing American schools. I have seen first-hand the success story of this small agency. In my home State of Arkansas, the National Endowment for the Arts worked in partnership with the State arts agency and the private sector to bring artists into our schools, to help cities revive downtown centers, and to support opera and jazz, literature and music. All across the United States, the Endowment invests in our cultural institutions and artists. People in communities small and large in every State have greater opportunities to participate and enjoy the arts. -
Kunqu Opera in the Last Hundred Years in China
Review of Educational Theory | Volume 02 | Issue 04 | October 2019 Review of Educational Theory https://ojs.bilpublishing.com/index.php/ret REVIEW Kunqu Opera in the Last Hundred Years in China Yue Wang* The University of Milan, Milan, 20122, Italy ARTICLE INFO ABSTRACT Article history Kunqu, literally means kun melody, is one of the most ancient forms of Received: 26 September 2019 Chinese opera. Originally her melody derives from Kunshan zone of Jiangsu province therefore it has been named Kunshan melody before, Revised: 15 October 2019 now Kunqu also known as Kunju, which means Kunqu opera. This paper Accepted: 21 October 2019 mainly focuses on the development of Kunqu in the past 100 years and the Published Online: 31 October 2019 influence of historical social and humanistic changes behind the special era on Kunqu, and compares the attitudes of scholars of different schools Keywords: of thought in different eras to Kunqu and the social public to compare and analyze the degree of love of Kunqu. Kunqu Last hundred years Development Inuence 1. Introduction opera have been developed on the basis of Kunqu. It is the most complete type of drama in the history of Chinese The original name of Kunqu is “tune of KunShan”, is opera, the biggest feature is the lyrical and delicate move- the ancient Chinese opera intonation type of drama, now ments, the combination of singing and dancing is inge- known as the “Kun drama”. Originated from the Yuan nious and harmonious ,in the costumes and make-up, the Dynasty (the middle of the 14th century), it’s a traditional generals have various kinds of costumes, the civil servants Chinese culture and art of the Han ethnic group. -
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No.1 October 2019 EDITORS-IN-CHIEF Tobias BIANCONE, GONG Baorong EDITORIAL BOARD MEMBERS (in alphabetical order by Pinyin of last name) Tobias BIANCONE, Georges BANU, Christian BIET, Marvin CARLSON, CHEN Jun, CHEN Shixiong, DING Luonan, Erika FISCHER-LICHTE, FU Qiumin, GONG Baorong, HE Chengzhou, HUANG Changyong, Hans-Georg KNOPP, HU Zhiyi, LI Ruru, LI Wei, LIU Qing, LIU Siyuan, Patrice PAVIS, Richard SCHECHNER, SHEN Lin, Kalina STEFANOVA, SUN Huizhu, WANG Yun, XIE Wei, YANG Yang, YE Changhai, YU Jianchun. EDITORS WU Aili, CHEN Zhongwen, CHEN Ying, CAI Yan CHINESE TO ENGLISH TRANSLATORS HE Xuehan, LAN Xiaolan, TANG Jia, TANG Yuanmei, YAN Puxi ENGLISH CORRECTORS LIANG Chaoqun, HUANG Guoqi, TONG Rongtian, XIONG Lingling,LIAN Youping PROOFREADERS ZHANG Qing, GUI Han DESIGNER SHAO Min CONTACT TA The Center Of International Theater Studies-S CAI Yan: [email protected] CHEN Ying: [email protected] CONTENTS I 1 No.1 CONTENTS October 2019 PREFACE 2 Empowering and Promoting Chinese Performing Arts Culture / TOBIAS BIANCONE 4 Let’s Bridge the Culture Divide with Theatre / GONG BAORONG STUDIES ON MEI LANFANG 8 On the Subjectivity of Theoretical Construction of Xiqu— Starting from Doubt on “Mei Lanfang’s Performing System” / CHEN SHIXIONG 18 The Worldwide Significance of Mei Lanfang’s Performing Art / ZOU YUANJIANG 31 Mei Lanfang, Cheng Yanqiu, Qi Rushan and Early Xiqu Directors / FU QIUMIN 46 Return to Silence at the Golden Age—Discussion on the Gains and Losses of Mei Lanfang’s Red Chamber / WANG YONGEN HISTORY AND ARTISTS OF XIQU 61 The Formation -
New Actresses and Urban Publics in Early Republican Beijing Title
Carnegie Mellon University MARIANNA BROWN DIETRICH COLLEGE OF HUMANITIES AND SOCIAL SCIENCES DISSERTATION Submitted in Partial Fulfillment of the Requirements Doctor of Philosophy For the Degree of New Actresses and Urban Publics in Early Republican Beijing Title Jiacheng Liu Presented by History Accepted by the Department of Donald S. Sutton August 1, 2015 Readers (Director of Dissertation) Date Andrea Goldman August 1, 2015 Date Paul Eiss August 1, 2015 Date Approved by the Committee on Graduate Degrees Richard Scheines August 1, 2015 Dean Date NEW ACTRESSES AND URBAN PUBLICS OF EARLY REPUBLICAN BEIJING by JIACHENG LIU, B.A., M. A. DISSERTATION Presented to the Faculty of the College of the Marianna Brown Dietrich College of Humanities and Social Sciences of Carnegie Mellon University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY CARNEGIE MELLON UNIVERSITY August 1, 2015 Acknowledgements This dissertation would not have been possible without the help from many teachers, colleages and friends. First of all, I am immensely grateful to my doctoral advisor, Prof. Donald S. Sutton, for his patience, understanding, and encouragement. Over the six years, the numerous conversations with Prof. Sutton have been an unfailing source of inspiration. His broad vision across disciplines, exacting scholarship, and attention to details has shaped this study and the way I think about history. Despite obstacle of time and space, Prof. Andrea S. Goldman at UCLA has generously offered advice and encouragement, and helped to hone my arguments and clarify my assumptions. During my six-month visit at UCLA, I was deeply affected by her passion for scholarship and devotion to students, which I aspire to emulate in my future career.