"Eight Revolutionary Model Operas" in China's Great Cultural Revolution
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UNLV Retrospective Theses & Dissertations 1-1-1991 A historical study on the "eight revolutionary model operas" in China's Great Cultural Revolution Joe He University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation He, Joe, "A historical study on the "eight revolutionary model operas" in China's Great Cultural Revolution" (1991). UNLV Retrospective Theses & Dissertations. 170. http://dx.doi.org/10.25669/0gaa-rfyh This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. 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Order Number 1348068 A historical study on the “eight revolutionary model operas” in China’s Great Cultural Revolution He, Joe, M.A. University of Nevada, Las Vegas, 1992 UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. A Historical Study On The "Eight Revolutionary Model Operas" In China’s Great Cultural Revolution By Joe He A Thesis Submitted In Partial Fulfillment Of The Requirements For The Degree Of Master Of Arts In History Department of History University of Nevada, Las Vegas MAY 1992 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. APPROVAL PAGE The Thesis of Joe (Jianhua) He for the degree of Master of Arts in History is approved. (J iju /y u y________ Chairperson, Sue Fawnwn Chtfng,Chwng, Ph.D. ExammingCommittiettee eM MememneBr,e r,J osJeph A Fry, Ph.D. I Exandnmg ComWttee Member, Stephen J. Roddy, Ph.D. Graduate Faculty RepresentaKv^ William R. Jankowiak, Ph.D. Graduate Dean, Ronald W. Smith, Ph D. University of Nevada, Las Vegas M ay 1992 i i Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. I gratefully acknowledge the guidance and help of my teacher Dr. Sue Fawn Chung, Dr. Joseph A. Fry, Dr. Stephen J. Roddy and Dr. William R. Jankowiak. Joe He m Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT During the Great Cultural Revolution (1966-1976) eight revolutionary model operas were popularized as a means of transformation the ideology and values of the Chinese people as well as a political tool in struggle between the Maoists and Luists. When Mao realized that his ideals were being eclipsed, he concluded that a massive revolution was inevitable and allowed his wife, Jiang Qing, to direct the "movement of popularizing model operas." The purpose of this study to analyze the operas and their political and social significance. During that decade eight revolutionary model operas were written based on wartime experiences or on economic and ideological class struggle. They all taught about the revolutionary heroism of the proletariat, the need to sacrifice for the Party’s cause, the importance of class struggle and the continuing revolution, the ability of women to be leaders, and important value of Maoism. Leading writers and dramatists either suffered from their past "backward" performances or attained fame and power for their participation and support of the model operas. It was the first time that performing arts were used so extensive as a political tool. By 1976 almost 1 billion people were familiar with the "revolutionary model operas" and their messages. IV Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS C ast............................................................................................................................ .vi Chapter 1. The Unprecedented Great Proletarian Cultural Revolution, Background and Goals .................................................................................. 1 Internal Factors .............................................................................................. 2 External Factors ............................................................................................ 9 About Jiang Qing ........................................................................................ 11 Chapter 2. Model Operas in the Cultural Revolution, Prologue ..........................................................................................................20 The Eight Revolutionary Model Operas .......................................................... 31 Typical Characteristics of the Model Operas ................................................. 54 Chapter 3. Political and Social Impact of the Model Operas, An Unprecedented Campaign ...................................................................... 60 Chapter 4. Conclusion ................................................................................................67 Notes ........................................................................................................................... 76 Bibliography ................................................................................................................80 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. VI Cast Mao Zedong (1893-1976) Chairman of the Chinese Communist Party, founder and ultimate leader of the People’s Republic of China. Liu Shaoqi (1898-1969) Vice Chairman of the Chinese Communist Party and Chairman of the People’s Republic of China. Mao’s major opponent among the Chinese leadership; labeled as the number one "capitaUst-roader" among the Party; main target of the Cultural Revolution. Deng Xiaoping (1904- ) Party Secretary General before the Cultural Revolution; Liu Shaoqi’s major supporter; went down three time during the Cultural Revolution; reinstated as Vice Chairman of the Party and Vice Premier; officially retired from Party and State positions in late 1980s yet still remains the most powerful leader of China. Peng Dehuai (1898-1974) former CCP Politburo member. People’s Liberation Marshall, Minister of Defense; opposed Mao’s Great Leap Forward campaign and fired for criticizing Mao’s economic policies in the 1950s. Peng Zhen (189?- ) former CCP Politburo member and Mayor of Beijing; main supporter of liu Shaoqi; President of Chinese National Congress after Cultural Revolution; retired in the 1980s from Party and State positions in 1980s but still active in political affairs. Wu Han (1897-1969) historian and play writer; former Deputy Mayor of Beijing; Mend of Deng Xiaoping and Peng Zhen; major target during the Cultural Revolution. Gang of Four: Jiang Qing (1914-1991) Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. vu former rebel actress; married to Mao in 1937; member of CCP Politburo and Deputy Leader of the Cultural Revolution Leading Group of CCP Central Committee; major leader of model opera campaign; arrested in 1976 and died in 1991. Zhang Chunqiao (189?- ) CCP Politburo member from 1969-1976; Vice Premier from 1974-1976; in charge of propaganda department in Shanghai before entered the Central Committee of CCP; arrested in 1976. Wang Hongwen ( ? ) former mass organization leader in Shanghai; Vice Chairman of CCP