2019香港藝術發展局藝術範疇代表提名推選活動2019 Nomination Of
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Nora's Performance in China
Nora’s Performance in China (1914-2010): Inspiration, Communities and Political Theatre By Xiaofei Chen Master thesis Center for Ibsen Studies UNIVERSITETET I OSLO Spring semester, 2010 Acknowledgements I came to Oslo University by serendipity. When I was searching the resources for my thesis Nora’s rewriting in China(1914-1948), by accident the website of Ibsen Center jumped out. Then I came to Norway and studied at Ibsen Center. Whether in Norway or in China, many people asked me why I had chosen Ibsen studies and had come to Norway. I always said because I liked Ibsen’s plays and Norway has an Ibsen Center. It turned out that I had chosen correctly. At the Ibsen Center, professors and students from all over the world gave me lots of chances to access different ideas and insights into Ibsen studies, especially from theatre and performance aspects. I could access the original Ibsen’s texts and understand Norwegian society in Ibsen’s times, and I could watch Ibsen’s performances from different countries either in the National Theatre or through DVDs in class. Thanks to Ibsen Center for giving me the opportunity to study here, and I also want to show my appreciation for all the professors at the Ibsen Center: especially Frode Helland, Astrid Sæther, Jon Nygaard, Atle Kittang, Erika Fischer-Lichte and Nilu Kamaluddin, Julie Holledge, Knut Brynhildsvoll, who gave me the latest information about Ibsen studies through lectures and seminars. My special thanks for my professor, Jon Nygaard, who gave me the inspiration to write this topic with fresh insight. -
Proquest Dissertations
TO ENTERTAIN AND RENEW: OPERAS, PUPPET PLAYS AND RITUAL IN SOUTH CHINA by Tuen Wai Mary Yeung Hons Dip, Lingnan University, H.K., 1990 M.A., The University of Lancaster, U.K.,1993 M.A., The University of British Columbia, Canada, 1999 A THESIS SUBIMTTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA September 2007 @ Tuen Wai Mary Yeung, 2007 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-31964-2 Our file Notre reference ISBN: 978-0-494-31964-2 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Nnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. -
The Aesthetics of Chinese Classical Theatre
THE AESTHETICS OF CHINESE CLASSICAL THEATRE － A PERFORMER’S VIEW Yuen Ha TANG A thesis submitted for the degree of Doctor of Philosophy of The Australian National University. March, 2016 © Copyright by Yuen Ha TANG 2016 All Rights Reserved This thesis is based entirely upon my own research. Yuen Ha TANG ACKNOWLEDGMENT I owe a debt of gratitude to my supervisor Professor John Minford, for having encouraged me to undertake this study in the first place and for guiding my studies over several years. He gave me generously of his time and knowledge. Since I first became their student in Shanghai in the 1980s, my teachers Yu Zhenfei and Zhang Meijuan (and others) inspired me with their passionate love for the theatre and their unceasing quest for artistic refinement. I am deeply grateful to them all for having passed on to me their rich store of artistry and wisdom. My parents, my sister and her family, have supported me warmly over the years. My mother initiated me in the love of the theatre, and my father urged me to pursue my dream and showed me the power of perseverance. My thanks also go to Geng Tianyuan, fellow artist over many years. His inspired guidance as a director has taught me a great deal. Zhang Peicai and Sun Youhao, outstanding musicians, offered their help in producing the video materials of percussive music. Qi Guhua, my teacher of calligraphy, enlightened me on this perennial and fascinating art. The Hong Kong Arts Development Council has subsidized my company, Jingkun Theatre, since 1998. My assistant Lily Lau has provided much valuable help and my numerous friends and students have given me their constant loyalty and enthusiasm. -
A PEDAGOGY of CULTURE BASED on CHINESE STORYTELLING TRADITIONS DISSERTATION Presented in Partial Fulfillment of the Requirement
A PEDAGOGY OF CULTURE BASED ON CHINESE STORYTELLING TRADITIONS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Doctor of Philosophy in the Graduate School of The Ohio State University By Eric Todd Shepherd MA, East Asian Languages and Literatures The Ohio State University 2007 Dissertation Committee: Approved by Galal Walker, Advisor _______________________ Mark Bender Advisor Mari Noda Graduate Program in Dorothy Noyes East Asian Languages and Literatures Copyright by Eric Todd Shepherd 2007 ABSTRACT This dissertation is an historical ethnographic study of the Shandong kuaishu (山东快书) storytelling tradition and an ethnographic account of the folk pedagogy of Wu Yanguo, one professional practitioner of the tradition. At times, the intention is to record, describe and analyze the oral tradition of Shandong kuaishu, which has not been recorded in detail in English language scholarly literature. At other times, the purpose is to develop a pedagogical model informed by the experiences and transmission techniques of the community of study. The ultimate goal is to use the knowledge and experience gained in this study to advance our understanding of and ability to achieve advanced levels of Chinese language proficiency and cultural competence. Through a combination of the knowledge gained from written sources, participant observation, and first-hand performance of Shandong kuaishu, this dissertation shows that complex performances of segments of Chinese culture drawn from everyday life can be constructed through a regimen of performance based training. It is intended to serve as one training model that leads to the development of sophisticated cultural competence. ii Dedicated to Chih-Hsin Annie Tai iii ACKNOWLEDGMENTS Any dissertation is a collaborative effort. -
附件1 Appendix I
中国戏曲学院系部简介 Brief Introduction to Departments 京剧系 京剧系是中国戏曲学院最具代表性的教学系，主要培养高素质京剧表演和京 剧器乐人才。京剧系的京剧表演、京剧器乐是学院办学历史最长的专业,在全国 戏曲院校中最具特色，也最具影响力；其中京剧表演专业是国家级特色专业建设 点、北京市级特色专业建设点，京剧器乐专业就北京市级特色专业建设点。 Jingju Dept. The Jingju Dept. is the most distinctive department at NACTA. It primarily cultivates the talents of Jingju performance and musicianship to a high standard. Within the Jingju Dept., Jingju Performance, and Jingju Instrumental Musicianship are the two majors at NACTA that have been around the longest, and are the most distinctive and influential majors amongst Xiqu schools nationwide. Jingju Performance has been named "Featured Major" both nationally and locally in Beijing, Jingju Instrumental Musicianship has been named "Featured Major" in Beijing. 表演系 表演系以昆曲和地方剧人才培养为主体，将昆曲、粤剧、藏戏三个世界级非 物质文化遗产剧种，以及豫剧、晋剧、越剧、黄梅戏、梨园戏、闽剧、秦腔等十 余个国家级非物质文化遗产剧种纳入到本科和研究生教育之中。 Performing Arts Dept. The Performing Arts Dept. primarily cultivates talents for Kunqu and local genres of theatre. It brings an academic focus to three elements of the Global Immaterial Cultural Heritage, and scores of National Immaterial Cultural Heritage types of Xiqu, at the graduate and undergraduate levels. The former three are Kunqu (Kun Opera), Yueju (Cantonese Opera), and Zangxi (Tibetan Opera), while the latter list contains Yuju (Henan Opera), Jinju (Shanxi Opera), Yueju (Primarily Zhejiang, Yue Opera), Huangmeixi (Primarily Anhui, Huangmei Opera), Liyuanxi (Primarily Fujian, Liyuan Opera), Minju (Fuzhou, Taiwan, Min Opera), and Qinqiang (Shaanxi, Qin Vocal Realm). 导演系 导演系始建于 1979 年。导演系的教师曾获柏林电影节银熊奖、中国艺术节 文华奖等著名奖项，该系学生执导的作品、参演的作品在中国多地巡演。此外， 导演系还长期与美国马里兰大学、瑞士苏黎世艺术大学、英国皇家戏剧学院等开 展联合教学、舞台剧及影片创作。 Directing Dept. The Directing Dept. was established in 1979. Teachers in the Directing Dept. have won the Silver Bear Award at the Berlin International Film Festival, and the Wenhua Award at the China Arts Festival. -
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U.S. Department of Homeland Security 20 Mass. Ave., N.W., Rm. A3042 Washington, DC 20529 identifying data deleted to U. S. Citizenship prevent dearly onwarmted and Immigration invasion of pedprivacy **I/ a:, a:, *F .I PUBLIC COPY Office: VERMONT SERVICE CENTER Date: MY0 1 ~~efi PETITION: Immigrant Petition for Alien Worker as a Member of the Professions Holding an Advanced Degree or an Alien of Exceptional Ability Pursuant to Section 203(b)(2) of the Immigration and Nationality Act, 8 U.S.C. 5 1153(b)(2) ON BEHALF OF PETITIONER: SELF-REPRESENTED INSTRUCTIONS: This is the decision of the Administrative Appeals Office in your case. All documents have been returned to the office that originally decided your case. Any hrther inquiry must be made to that oflice. Administrative Appeals Office Page 2 DISCUSSION: The Director, Vermont Service Center, denied the employment-based immigrant visa petition. The matter is now before the Administrative Appeals Office on appeal. The appeal will be dismissed. The petitioner seeks classification pursuant to section 203(b)(2) of the Immigration and Nationality Act (the Act), 8 U.S.C. $ 1153(b)(2), as an alien of exceptional ability in the arts. The petitioner seeks employment as an entertainer. The petitioner asserts that an exemption from the requirement of a job offer, and thus of a labor certification, is in the national interest of the United States. The director found that the petitioner has not established that he qualifies for classification as an alien of exceptional ability, or that an exemption from the requirement of a job offer would be in the national interest of the United,States. -
In Search of Laughter in Maoist China: Chinese Comedy Film 1949-1966
IN SEARCH OF LAUGHTER IN MAOIST CHINA: CHINESE COMEDY FILM 1949-1966 DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Ying Bao, M.A. ***** The Ohio State University 2008 Dissertation Committee: Approved by Professor Kirk A. Denton, Adviser Professor Mark Bender Professor J. Ronald Green _____________________ Professor Patricia Sieber Adviser East Asian Languages and Literatures Graduate Program Copyright by Ying Bao 2008 ABSTRACT This dissertation is a revisionist study examining the production and consumption of comedy film—a genre that has suffered from relative critical and theoretical neglect in film studies—in a culturally understudied period from 1949 to 1966 in the People’s Republic of China. Utilizing a multidisciplinary approach, it scrutinizes the ideological, artistic, and industrial contexts as well as the distinctive textures of Chinese comedy films produced in the so-called “Seventeen Years” period (1949-1966). Taking comedy film as a contested site where different ideologies, traditions, and practices collide and negotiate, I go beyond the current canon of Chinese film studies and unearth forgotten films and talents to retrieve the heterogeneity of Chinese cinema. The varieties of comedy examined—mostly notably the contemporary social satires in the mid-1950s, the so- called “eulogistic comedies,” and comedian-centered comedies in dialect and period comedies, as well as lighthearted comedies of the late 1950s and the early 1960s— problematize issues of genre, modernity, nation, gender, class, sublimity, and everyday ii life in light of the “culture of laughter” (Bakhtin) within a heavily politicized national cinema. -
Hum Boston 2018 FINAL
WEI Boston, USA, August 01-03, 2018 2018 WEI INTERNATIONAL ACADEMIC CONFERENCE PROCEEDINGS Humanities 1 by the WEI ISSN 2167-3179 (Online) USA Table of Contents Public Perceptions of the Role of Social Media Networks in E-government in Building Social Capital for Social Inclusion 4 AL-RASHEED 4 Techniques for Detecting and Preventing Résumé Padding 5 THARWAT EL-SAKRAN 5 How did the development of the candle affect what it means to be human? 6 CLAUDINE PERRAULT 6 Are we living a Neo-Baroque?: The Landscape in the Anthropocene 8 CRISTINA SANZ MARTIN 8 Motivational Behind of Smuggled People: A Study Case in Bengkalis Island, Indonesia 10 SYAHRUL AKMAL LATIF 10 The urban settlement study of two distinctive districts, Tantibazar and Shakharibazar in Old Dhaka according to the vernacular pattern 11 AR. SAYED AHMED 11 Radical Islamic Organization as a Social Movement 13 AKINSETE OLABODE 13 Animate paintings executed on Qajar Ceramic Vessels and Tiles In light of the Collection Preserved in King Faisal Museum 15 AL-JAWHARA BINT ABDULAZIZ AL-SAADOON 15 The Pre-Islamic Battle of Dhū-Qār: From History to Collective Memory 48 HAMAD ALAJMI 48 The impact of life satisfaction in the degree of Self-Efficient Belief, Depression and Psychological Loneliness among a sample of people with visual disabilities in the State of Kuwait 50 AMTHAL ALHUWAILAH 50 The Mormon Reformation: Working Through Community Dissonance 52 AUSTIN CARY 52 4Cs in the ESL Classroom: Enhancing Learning and Innovations Skills through Technology 54 NIKEETA BARROW 54 The Decorative Art -
Nandan in the Ming Dynasty a Thesis Submitted to The
NANDAN IN THE MING DYNASTY A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THEATRE MAY 2012 By Yan Ma Thesis Committee: Julie Iezzi, Chairperson Kirstin Pauka Giovanni Vitiello Keywords: Nandan, Kunqu, Ming Dynasy ACKNOWLEDGEMENTS First, I would like to express my sincere thanks to the chair of the committee, Professor Julie Iezzi, for her continuous support and guidance of my research. I am grateful to the members of my thesis committee, Professor Kirstin Pauka and Giovanni Vitiello for their help on this thesis. Professor Giovanni Vitiello with immense knowledge in Chinese literature gave me a lot of inspiration and valuable suggestions. I appreciate Professor Kirstin Pauka’s patience and help especially in the writing process. I would also like to thank Professor Elizabeth A. Wichmann-Walczak and Lurana Donnels O’Malley for their help in the early stages of research. Dr. Jintang Luo helped me a great deal in understanding the historical records, for which I am thankful as well. Also, many thanks to Ms. Xiaohui Bao in China, who directed me to appreciate traditional Chinese theatre and encouraged me to pursue a Masters degree in the Dept. of Theatre and Dance at UHM. Last but not least, I dedicate this work to my parents, for supporting and encouraging me throughout my life. i ABSTRACT Nan means male, and dan is the generic name of female roles in xiqu (traditional Chinese theatre). The term nandan refers to a male actor who performs female roles in xiqu. -
One-Sided Version
TODAY'S STAGE I I II I TODAY'S STAGE No.2 October 2020 EDITORS-IN-CHIEF Tobias BIANCONE, GONG Baorong EDITORIAL BOARD MEMBERS (in alphabetical order by Pinyin of last name) Tobias BIANCONE, Georges BANU, 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 Jiancun, Jean-Pierre WURTZ. EDITORS WU Aili, CHEN Zhongwen, CHEN Ying, CAI Yan CHINESE TO ENGLISH TRANSLATORS HE Xuehan, YANG Zhen, ZHANG Kun ENGLISH CORRECTORS Thomas JONHSON, Jake Dylan MCLVOR PROOFREADERS ZHANG Qing DESIGNER SHAO Min CONTACT TA The Center of International Theater Studies-S CAI Yan: [email protected] CHEN Ying: [email protected] CONTENTS I 1 No.2 CONTENTS October 2020 INTRODUCTION 2 The Development of Modern Chinese Drama / Gong Baorong STUDIES OF CAO YU 10 Cao Yu: Pioneer of Modern Chinese Drama /Li Ruru 25 A Discussion on Ideology and Methodology of Cao Yu’s Playwrighting /Chen Jun 39 The 40-Year Global Spread of Cao Yu’s Classics during Reform and Opening-up Era /Cao Shujun 48 Cruelty: A Modern Analysis of Cao Yu's Drama /Song Baozhen 66 Classical Drama Thunderstorm, Being Reinterpreted /Zhu Donglin HISTORY 78 Wenmingxi (Civilized Theatre) : The Early Form of Modern Chinese drama /Zhong Junfang CHINESE EXPERIMENTAL THEATER 84 The Overview of Chinese Experimental Theater /Sun Yunfeng 90 Analysis on Experimental Theater Art in China /Li Yigeng THEATRE AND ARTIST 95 Beijing People’s Art Theatre /Han Shuang 99 The Evergreen Tree on Chinese Drama Stage—Pu Cunxin /Zhang Qing INTRODUCTION OF CLASSICS 104 Introduction to Classical Xiqu Plays (II) /Huang Jingfeng TODAY’S STAGE 111 An Inventory of Chinese Theatre in 2019 /Zou Shengtan 2 I INTRODUCTION The Development of Modern Chinese Drama GONG BAORONG The art of Chinese theatre can be traced back to the Han and Tang dynasties. -
G.N. 4044 Hong Kong Arts Development Council Ordinance (Chapter 472) SPECIFICATION of ORGANISATIONS and INDIVIDUALS Pursuant To
HONG KONG ARTS DEVELOPMENT COUNCIL ORDINANCE (Chapter 472) G.N. 4044 SPECIFICATION OF ORGANISATIONS AND INDIVIDUALS Hong Kong Arts Development Council Ordinance (Chapter 472) Pursuant SPECIFICATIONto section 3(5) of OFthe HongORGANISATIONS Kong Arts Development AND INDIVIDUALS Council Ordinance, I Pursuanthereby to sectionspecify 3(5)for eachof the of Hong the interestsKong Arts appearing Development in the Councilfirst column Ordinance, below Ithe hereby specify for each of the interests appearing in the first column below the organisations and individualsorganisations listed correspondingly and individuals in listed the second correspondingly column below:— in the second column below:– Interests Organisations/ Individuals 1. Literary Arts 1. 1A Group Limited* 2. Asia & Europe Culture Association 3. Asian Chinese Writers Association Hong Kong 4. Chang Qing Poets' Association 5. China Academy Of Culture* 6. Chinese National and Cultural Foundation* 7. Community Art Network* 8. Cross Straits Culture Association 9. Hong Kong (Overseas) Literators & Artists Association Limited 10. Hong Kong Arts Administrators Association Limited* 11. Hong Kong Book Reviewers Association 12. Hong Kong Children's Arts Society 13. Hong Kong Chinese Language Association 14. Hong Kong Creative Arts Centre Limited* 15. Hong Kong Culture Association Charitable Foundation Limited* 16. Hong Kong International Association of Creativity 17. Hong Kong International Literary Festival Limited* 18. Hong Kong International Philosophy And Culture Association 19. Hong Kong International Society for the Promotion of Culture* 20. Hong Kong Literary Criticism Society Company Limited* 21. Hong Kong Literature Promoted Association 22. Hong Kong Literature Publishing Company Limited 23. Hong Kong Music & Literature Society* 24. Hong Kong New Poetry Union 25. Hong Kong Palace Museum Limited* 26. -
Traditional Chinese Theatre
This article was downloaded by: 10.3.98.104 On: 23 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK Routledge Handbook of Asian Theatre Siyuan Liu Traditional Chinese theatre Publication details https://www.routledgehandbooks.com/doi/10.4324/9781315641058.ch2 Colin Mackerras Published online on: 04 Feb 2016 How to cite :- Colin Mackerras. 04 Feb 2016, Traditional Chinese theatre from: Routledge Handbook of Asian Theatre Routledge Accessed on: 23 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9781315641058.ch2 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 2 Traditional Chinese theatre Colin Mackerras Introduction China’s theatre tradition is among the oldest and most varied in the world. Despite the proscrip - tions of authorities, it has been tightly interwoven with society and enjoyed by people of all classes. This chapter restricts itself to the Han people, who (according to the 2010 census) were 91.51 per cent of a total of nearly 1.4 billion people, with some particularly important minority traditions covered separately.