設中文字幕 Interpretado Em Cantonense, Com Legendas Em
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Performing Shakespeare in Contemporary Taiwan
Performing Shakespeare in Contemporary Taiwan by Ya-hui Huang A thesis submitted in partial fulfilment for the requirements of the degree of Doctor of Philosophy at the University of Central Lancashire Jan 2012 Abstract Since the 1980s, Taiwan has been subjected to heavy foreign and global influences, leading to a marked erosion of its traditional cultural forms. Indigenous traditions have had to struggle to hold their own and to strike out into new territory, adopt or adapt to Western models. For most theatres in Taiwan, Shakespeare has inevitably served as a model to be imitated and a touchstone of quality. Such Taiwanese Shakespeare performances prove to be much more than merely a combination of Shakespeare and Taiwan, constituting a new fusion which shows Taiwan as hospitable to foreign influences and unafraid to modify them for its own purposes. Nonetheless, Shakespeare performances in contemporary Taiwan are not only a demonstration of hybridity of Westernisation but also Sinification influences. Since the 1945 Kuomintang (Chinese Nationalist Party, or KMT) takeover of Taiwan, the KMT’s one-party state has established Chinese identity over a Taiwan identity by imposing cultural assimilation through such practices as the Mandarin-only policy during the Chinese Cultural Renaissance in Taiwan. Both Taiwan and Mainland China are on the margin of a “metropolitan bank of Shakespeare knowledge” (Orkin, 2005, p. 1), but it is this negotiation of identity that makes the Taiwanese interpretation of Shakespeare much different from that of a Mainlanders’ approach, while they share certain commonalities that inextricably link them. This study thus examines the interrelation between Taiwan and Mainland China operatic cultural forms and how negotiation of their different identities constitutes a singular different Taiwanese Shakespeare from Chinese Shakespeare. -
Poh Cheng Khoo Interrogating the Women Warrior
MIT4 Panel: "Asian Warrior Womanhood in Storytelling." Poh Cheng Khoo Interrogating the Women Warrior: War, Patriotism and Family Loyalty in Lady Warriors of the Yang Family (2001). The medieval Chinese are known to be heavily patriarchal, but even such a culture produced many formidable women warriors…Daughters of prominent military families trained in the martial arts. Wives of generals were often chosen for their battle skills. The Yang family of the Song Dynasty (960-1279 CE) was one such military family. When the men were decimated on various military assignments, their wives, mothers, sisters and even maidservants took their places on the battlefield. (“Warriors: Asian women in Asian society”) “No group of women in Chinese history has commanded so much prestige and respect as the ladies of the Yang family. They are revered as great patriots who were willing to lay down their lives for the sake of their country” (Lu Yanguang, 100 Celebrated Chinese Women, 149). The genesis of this paper lies in a 40-part retelling of one of the more enduring woman warrior stories of historical China. When I saw this particular 2001 TV series which loosely translates into Lady Warriors of the Yang Family, I was working on my dissertation involving Maxine Hong Kingston’s The Woman Warrior and hence the iconic figure of Fa Mu Lan. Contrary to Mulan’s concealment of gender in battle, here was a family of woman warriors from some ten centuries ago, none of whom had to compromise their true biological identity by cross-dressing or, according to Judith Lorber’s definition, turning “transvestite” (Richardson et al [eds.] 42). -
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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 -
Marjorie Chan's C674. Chinese Opera (Wi 05)
Marjorie Chan's C674. Chinese Opera (Wi 05) [ Gen. Info | Txtbks | Desc. | Stud. Resp. | Grading | Sched. | Readings | Suppl. Rdgs | Web ] WINTER QUARTER 2005 Chinese 674 C H I N E S E O P E R A Professor Marjorie K.M. Chan Dept. of E. Asian Lang. & Lit. The Ohio State University Columbus, OH 43210 U.S.A. This is a UTF8-encoded course page. CREDITS: 5 credits. U G PREREQUISITES: No prerequisites CALL NUMBER: 04765-9 TIME: F 1:30-5:00 p.m. PLACE: 071 Hagerty Hall (1775 College Road) (multimedia classroom with internet connection) OFFICE HOURS: W 2:00-4:00 p.m. (Week 2 onwards), or by appointment Office: 362 Hagerty Hall (1775 College Road) Tel: 292.3619 (292-5816 for messages, 292.3225 for faxes) E-mail: chan.9 @osu.edu COURSE PAGE: Chinese 674. Chinese Opera. URL: people.cohums.ohio-state.edu/ chan9/c674.htm MC's Home Page: people.cohums.ohio-state.edu/chan9 MC's ChinaLinks: ChinaLinks.osu.edu http://people.cohums.ohio-state.edu/chan9/c674.htm (1 of 15)3/12/05 10:22 AM Marjorie Chan's C674. Chinese Opera (Wi 05) [ Gen. Info | Txtbks | Desc. | Stud. Resp. | Grading | Sched. | Readings | Suppl. Rdgs | Web | Top ] TEXTBOOKS Available from SBX (1806 N. High Street. 291-9528) unless indicated otherwise. 1. Siu, Wang-Ngai (with Peter Lovrick). 1997. Chinese Opera: Images and Stories. Vancouver, Canada: UBC Press; Seattle: U. of Washington Press. [ISBN: 0-7748-0592-7] Optional. For reading and reference (stage craft and synopses of regional operas). To be available from SBX. -
Cultural Institute. All Rights Reserved. Under the Copyright Laws, This
星期六 晚上八時 澳門文化中心綜合劇院 出連中場休息約兩小時三十分 Quarta-feira Centro Cultural de Macau – Grande Auditório 20:00 Duração: aproximadamente 2 horas e 30 minutos, incluindo um intervalo Wednesday Macao Cultural Centre Grand Auditorium 8pm Duration: approximately 2 hours and 30 minutes, including one interval 鳴謝 Agradecimentos Acknowledgements 青春版秦腔 《楊門女將》 陝西省戲曲研究院小梅花秦腔團 COMPANHIA DE ÓPERA QINQIANG PEQUENA FLOR DE AMEIXEIRA [INTERIOR DA CHina] MULHERES GENERAL DA FAMÍLIA YANG LITTLE PLUM BLOSSOM QINQIANG OPERA TROUPE [MainLanD CHina] WOMEN GENERALS OF THE YANG FAMILY 主辦 Organização Organizer 第 二 十 屆 澳 門 藝 術 節 青春版秦腔 《楊門女將》 陝西省戲曲研究院小梅花秦腔團 根據范鈞宏、呂瑞明改編的同名京劇劇本改編 出品人:陳彥 主創人員表 職員表 劇本改編:陳彥 燈光操作:張兆瑞、劉小飛 、王小兵 總導演:胡筱坪(特邀) 音響效果:張小鵬、王俊峰、張家駒 導演:王青(特邀) 服裝:王桐花、戴明、宋民民、張婷等 副導演:王振鵬(特邀) 造型:祝秀蓮(特邀)、陰榮麗 導演助理:聶文華 舞美監製:賀建忠、竇培德 音樂設計:徐志遠(特邀) 音樂指導:葛瑞民 唱腔設計:李書、薛天信、羅新昌 樂隊指揮:張德寧 配器:徐光明 司鼓:張辣子、蕭飛 舞美設計:秦文寶(特邀)、賀建忠 板胡:申寶林、董康華 燈光設計:張學偉(特邀)、馬蘭成 樂隊統籌:樊敏 服裝設計:秦文寶(特邀)、戴明 樂隊:陝西省戲曲研究院管弦樂隊 舞蹈設計:王宏(特邀)、黃曉東(特邀) 劇務:楊運、許鵬 演出總監:吳安平 2 第 二 十 屆 澳 門 藝 術 節 職員表 演員 燈光操作:張兆瑞、劉小飛 、王小兵 佘太君 魏豔妮 音響效果:張小鵬、王俊峰、張家駒 穆桂英 孫豔 服裝:王桐花、戴明、宋民民、張婷等 楊文廣 宋娣娣 造型:祝秀蓮(特邀)、陰榮麗 楊七娘 楊靜 舞美監製:賀建忠、竇培德 西夏王 李江偉 音樂指導:葛瑞民 柴郡主 張曉蘭 樂隊指揮:張德寧 採藥老人 崔江 司鼓:張辣子、蕭飛 張彪 楊運 板胡:申寶林、董康華 楊八姐 李迎 樂隊統籌:樊敏 楊九妹 方海燕 樂隊:陝西省戲曲研究院管弦樂隊 楊大娘 弋長江 劇務:楊運、許鵬 楊二娘 王靜 演出總監:吳安平 楊三娘 車紅娟 楊四娘 魏磊 楊五娘 潘文娟 楊八娘 于苗 孟懷遠 劉劍 焦廷貴 李雲 宋仁宗 盧濤 寇准 許鵬 王輝 譚敏 跳蚤 郭小天 王翔 張耀棟 魏古 翟博 楊洪 惠小龍 西夏差官 史挺 宋兵、番兵、 舞蹈 演訓班演員 領唱 張曉蘭、李海浪 設中、葡文字幕 3 第 二 十 屆 澳 門 藝 術 節 分幕 序幕 第一場 壽堂 第二場 靈堂 第三場 校場 中場休息 第四場 交兵 第五場 運籌 第六場 探谷 第七場 決戰 劇情簡介 《楊門女將》的古代傳奇在中國家喻戶曉,是宋代楊家將滿門忠烈、前仆後繼、忠 心報國的感人故事之一。在楊家為楊宗保賀壽的喜宴上,噩耗傳來,宗保戰死沙 場。為報國仇家恨,佘太君凛然挂帥,穆桂英繼承亡夫遺志,勇當先鋒。一門女將 -
Strategic Representations of Chinese Cultural Elements in Maxine Hong Kingston's and Amy Tan's Works
School of Media, Culture and Creative Arts When Tiger Mothers Meet Sugar Sisters: Strategic Representations of Chinese Cultural Elements in Maxine Hong Kingston's and Amy Tan's Works Sheng Huang This thesis is presented for the Degree of Doctor of Philosophy of Curtin University December 2017 Declaration To the best of my knowledge and belief this thesis contains no material previously published by any other person except where due acknowledgment has been made. This thesis contains no material which has been accepted for the award of any other degree or diploma in any university. Signature: …………………………………………. Date: ………………………... i Abstract This thesis examines how two successful Chinese American writers, Maxine Hong Kingston and Amy Tan, use Chinese cultural elements as a strategy to challenge stereotypes of Chinese Americans in the United States. Chinese cultural elements can include institutions, language, religion, arts and literature, martial arts, cuisine, stock characters, and so on, and are seen to reflect the national identity and spirit of China. The thesis begins with a brief critical review of the Chinese elements used in Kingston’s and Tan’s works, followed by an analysis of how they created their distinctive own genre informed by Chinese literary traditions. The central chapters of the thesis elaborate on how three Chinese elements used in their works go on to interact with American mainstream culture: the character of the woman warrior, Fa Mu Lan, who became the inspiration for the popular Disney movie; the archetype of the Tiger Mother, since taken up in Amy Chua’s successful book Battle Hymn of the Tiger Mother; and Chinese style sisterhood which, I argue, is very different from the ‘sugar sisterhood’ sometimes attributed to Tan’s work. -
Historical Romance and Sixteenth-Century Chinese Cultural Fantasies
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 Genre and Empire: Historical Romance and Sixteenth-Century Chinese Cultural Fantasies Yuanfei Wang University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the English Language and Literature Commons, and the History Commons Recommended Citation Wang, Yuanfei, "Genre and Empire: Historical Romance and Sixteenth-Century Chinese Cultural Fantasies" (2013). Publicly Accessible Penn Dissertations. 938. https://repository.upenn.edu/edissertations/938 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/938 For more information, please contact [email protected]. Genre and Empire: Historical Romance and Sixteenth-Century Chinese Cultural Fantasies Abstract Chinese historical romance blossomed and matured in the sixteenth century when the Ming empire was increasingly vulnerable at its borders and its people increasingly curious about exotic cultures. The project analyzes three types of historical romances, i.e., military romances Romance of Northern Song and Romance of the Yang Family Generals on northern Song's campaigns with the Khitans, magic-travel romance Journey to the West about Tang monk Xuanzang's pilgrimage to India, and a hybrid romance Eunuch Sanbao's Voyages on the Indian Ocean relating to Zheng He's maritime journeys and Japanese piracy. The project focuses on the trope of exogamous desire of foreign princesses and undomestic women to marry Chinese and social elite men, and the trope of cannibalism to discuss how the expansionist and fluid imagined community created by the fiction shared between the narrator and the reader convey sentiments of proto-nationalism, imperialism, and pleasure. -
In Beijing Opera
女生男旦 The Artistry of Gender Switching in Beijing Opera 演員及製作 ○○○○○○○○○○○○○○○○○○ Credits ○○○○ 7 節目介紹 Programme Details 17.2.2006 節目 Programme 演員名單及分場大綱 Cast and Synopsis ○○○○○○13 18.2.2006 節目 Programme 演員名單及分場大綱 Cast and Synopsis ○○○○○○19 特稿 Feature 中國戲曲的性別反串 Male/Female Impersonation in Chinese Opera ○○○34 劇團介紹 Company Profile ○○○○○○○○○○○○○○○○39 生平介紹 ○○○○○○○○○○○ Biographies ○○○○○○○○ 41 王珮瑜 Wang Peiyu 17-18.2.2006 香港大會堂音樂廳 Concert Hall 為了讓大家對這次演出留下美好印象,請切記在節目開始前關掉手錶、無㵟電話及傳呼 Hong Kong City Hall 機的響鬧裝置。會場內請勿擅自攝影、錄音或錄影,亦不可飲食和吸煙,多謝合作。 演出長約 3 小時,包括一節 15 分鐘中 To make this performance a pleasant experience for the artists and other members of 場休息 the audience, PLEASE switch off your alarm watches, MOBILE PHONES and PAGERS. Running time: approximately 3 hours Eating and drinking, unauthorised photography and audio or video recording are with a 15 minute interval forbidden in the auditorium. Thank you for your co-operation. Credits 演員及製作 演員 主演 王珮瑜、劉 錚 合演 王 艷、黃齊峰、閻虹羽、王嘉慶、王俊鵬、韓 慶、芮振起、陳 嬡、王文斌、 邵海龍、馬 傑、許佩文、趙 華、魏以剛、竇 騫、楊再行、李 宏、孫 磊、 劉學勇、司 鳴、張 堯、孫曉晨、天津京劇院演員 演奏員 司鼓 丁 勝、朱 雷 笛師 劉訓剛、李河遵 操琴 湯振剛、天津京劇院演奏團 製作人員 藝術總監 孫元喜 劇務 張壽和 港龍航空為「女生男旦」藝人提供航空服務 Members of The Artistry of Gender Switching in Beijing Opera are flown in by 7 觀賞以下節目 可贏取港龍航空送出 香港至北京及香港至上海商務客位來回機票兩張! 你只需在票尾背面寫下姓名、香港身份證號碼、聯絡電話及電郵地址,完場後投進 設於香港藝術節諮詢處之港龍航空抽獎箱,即可參加抽獎。 抽獎結果將於2006年3月13日之南華早報及明報刊登。 節目及獎品詳情: 女生男旦 香港大會堂音樂廳 贏取香港至北京商務客位來回機票兩張 2月17-18日(星期五至六) 晚上7:30 雲門舞集 — 行草三部曲 香港文化中心大劇院 贏取香港至上海商務客位來回機票兩張 2月15、17-19日(星期三、五至日) 晚上8:15 2月19日(星期日) 下午3:00 Win Two Dragonair Business Class return tickets to Beijing and Shanghai! To enter, just write your name, HKID number, telephone number and email address on the back of your ticket (for the shows listed below), and drop it into the Dragonair lucky draw box beside the Hong Kong Arts Festival Information Counter. -
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. -
Dissertation (Fan Liao)
UNIVERSITY OF CALIFORNIA, SAN DIEGO UNIVERSITY OF CALIFORNIA, IRVINE The Paradoxical Peking Opera: Performing Tradition, History, and Politics in 1949-1967 China A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Drama and Theatre by Fan Liao Committee in charge: University of California, San Diego Professor Janet L. Smarr, Chair Professor Paul G. Pickowicz, Co-Chair Professor Nancy A. Guy Professor Marianne McDonald Professor John S. Rouse University of California, Irvine Professor Stephen Barker 2012 The Dissertation of Fan Liao is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Co-Chair Chair University of California, San Diego University of California, Irvine 2012 iii TABLE OF CONTENTS Signature Page……………………………………………………………………………iii Table of Contents……………………………………………………………....................iv Vita………………………………………………………………………………………...v Abstract…………………………………………………………………………………...vi Introduction………………………………………………………………………………..1 Chapter One………………………………………….......................................................29 Reform of Jingju Old Repertoire in the 1950s Chapter Two……………………………………………………………………………...81 Making History: The Creation of New Jingju Historical Plays Chapter Three…………………………………………………………………………...135 Inventing Traditions: The Creation of New Jingju Plays with Contemporary Themes Conclusion……………………………………………………………………………...204 Appendix……………………………………………………………………………….211 Bibliography……………………………………………………………………………229 iv VITA 2003 -
Representations of Chinese Women Warriors in the Western Media
REPRESENTATIONS OF CHINESE WOMEN WARRIORS IN THE CINEMAS OF HONG KONG, MAINLAND CHINA AND TAIWAN SINCE 1980 A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in Chinese at the University of Canterbury by Yunxiang Chen University of Canterbury 2007 CONTENTS ACKNOWLEDGEMENT .................................................................................. i ABSTRACT .................................................................................................... ii Introduction................................................................................................ 1 1. HERstory of Chinese women warriors ........................................... 13 1.1 Basic Imagery ...................................................................................... 13 1.2 Thematic Continuity.......................................................................... 17 1.3 A Brief History of Women Warriors in Chinese Cinemas....... .23 2. Western Influence .................................................................................. 43 2.1 Western Women Warriors ..............................................................44 2.2 Chinese Women Warriors in Hollywood ................................... 54 3. Hong Kong .................................................................................................61 3.1 Peking Opera Blue .................................................................................... 61 3.2 Dragon Inn ............................................................................................. -
Marjorie Chan's Chinese Language & Gender On-Line Bibliography
MC's Home Page | MC's ChinaLinks Chinese Linguistics Bibliography | General Linguistcs Bibliography | Chinese Women Bibliography | Online Resources Marjorie Chan's Chinese Language and Gender On-line Bibliography This webpage contains the readings, as well as supplementary references and readings, from my Autumn 1997 Chinese 889 Seminar: Language and Gender, together with updates and many additions since 1997. This page is first and foremost an online, Chinese linguistics bibliography on language and gender. This online bibliography was created in 1997 motivated by the realization that, despite growing knowledge of linguistic studies on other languages, scholars studying gender issues were generally quite unaware of what has been written to date on Chinese, with the result that publications typically contain little to no references on Chinese. Since then, the situation has slowly improved over time, especially as more research began to appear in major linguistics journals. This stand-alone webpage was created with a two-fold aim: (1) to provide online resources for anyone interested in conducting research on the topic, and (2) to broaden linguists and other web surfers' knowledge to what publications exist on this topic for Chinese. In addition to the main section on Chinese Linguistics, this online bibliography has two small sections. One section contains a General Linguistics bibliography of select works on language and gender. Links to collections of course syllabi are included at the end of that section, together with other online resources. Course syllabi are included since they often contain both readings and additional references. The final section of this webpage contains a short, miscellaneous bibliography of publications on Chinese Women and gender issues by scholars in other disciplines such as history, literature, anthropology, sociology, and women studies.