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Xun Huisheng
De Draagbare Wikipedia Van Het Schrijven – Verhaal
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Peking Opera
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
Learning Yuzhou Feng (Sword of the Cosmos): a Journey Into the Heart of the Art of Mei Lanfang
Dissertation (Fan Liao)
10495.Intro.Pdf
2010 COMMEMORATIONS of the THEATRICAL CAREERS of CAO YU and LI YURU LI RURU University of Leeds
Deconstructing Chinese Opera Coherency, Not Unlike the Novels of Robbe-Grillet, the Films of Goddard, and the Cubist Paintings of Picasso
Teatro-32..Teatro-32.1 .. Page1
Peking Opera from the Beginning and Behind the Mask MALE PARTS Remains So Today
Appendix 1: Glossary for Chinese and Japanese Names and Terms
Guanda Wu's MA Thesis
The Magic Lotus Lantern and Other Tales from the Han Chinese
Chapter Two / Early Scenes of Peking Opera in Hong Kong Mei Lanfang………………………………………………………………………………….15 2.1 the Quest for “National Drama” in the Late 1910S
Jingju Male Cross-Gender Performers and Performance in the Post-Cultural Revolution Era
Top View
Testing the Margins of Leisure: Case Studies on China, Japan, and Indonesia Heidelberg Studies on Transculturality – 6
Perceptions of China in the Programme Selection for Mei Lanfang’S Performances in Japan (1919), the United States (1930) and the Soviet Union (1935)
Mustache As Resistance Representation and Reception of Mei Lanfang’S Masculinity Guanda Wu
“Artistic” Femininity Versus “Natural” Masculinity from China's
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
The Revival of Cross-Gender Performance in Jingju
Shifting Gender Roles: Male Dan in Chinese Theatre