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Dan role
Preliminary Pages
Prohibition of Jiatou Zaju in the Ming Dynasty and the Portrayal
The Aesthetics of Chinese Classical Theatre
The Market, Ideology, and Convention Jingju Performers’ Creativity in the 21St Century Li Ruru
National Pastime As Political Reform: Staging Peking Opera's New Tragic
"Experimenting with Dance Drama: Peking Opera Modernity, Kabuki Theater Reform and the Denishawn’S Tour of the Far East"
Transforming Tradition: Performances of Jingju ('Beijing Opera') in the UK
A New Gender Revolution in China: Beyond the Resumption of a Historical Authenticity
Innovation and Reform of the Hammered Dulcimer Yangqinin Contemporary China
History As Meta-Theater Allison Bernard Deposit Draft 5/16
Inheritance and Innovation in the Process of Artistic Creation in Major Kunqu Productions in the People‘S Republic of China, 2001-2015
Peking Opera from the Beginning and Behind the Mask MALE PARTS Remains So Today
“Masters of Laoting Shadow Play” Experiencing Traditional Art Practice in Virtual Space by Bijun Chen Master of Design, OCAD University 2018
Modernization and Music in Contemporary China: Crisis, Identity, and the Politics of Style
Nandan in the Ming Dynasty a Thesis Submitted to The
China Year in Review
Guanda Wu's MA Thesis
Information to Users
Top View
Jingju Male Cross-Gender Performers and Performance in the Post-Cultural Revolution Era
Chapter 1: Introduction
Testing the Margins of Leisure: Case Studies on China, Japan, and Indonesia Heidelberg Studies on Transculturality – 6
“Artistic” Femininity Versus “Natural” Masculinity from China's
A Performance-Based Study of Kunqu
From Beijing Opera to Yangbanxi
Research on Male Dan in Chinese Peking Opera and Castrato in Italian Opera Qunying Wang College of Music, Shaoguan University, Shaoguan, 512000, China
Shifting Gender Roles: Male Dan in Chinese Theatre