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Full-Text Articles in Chinese Studies
Chinese Peking Opera Anthology: A Text-Centered Study Of Peking Opera, Dongdong Li
Chinese Peking Opera Anthology: A Text-Centered Study Of Peking Opera, Dongdong Li
Theoretical Studies in Literature and Art
Since 1880, Peking opera (jingju) anthologies have developed rapidly and collected a large number of plays. Therefore, the text-centered study of jingju based on anthologies has been established, which could fulfil the gap in existing jingju studies that focus on performance. Specifically, by outlining the basic forms and evolutionary rules of the selected texts, we can survey the full picture of text-centered anthologies in development. By foregrounding text-centeredness and literariness of playscripts, we can open up a new field of textual studies beyond the studies of performance. The major aspects of theoretical studies of jingju anthologies include theories of anthology, …
On Wang Yuanhua's Ideas Of Jingju And His Reflection On The May Fourth Movement, Wei Li
On Wang Yuanhua's Ideas Of Jingju And His Reflection On The May Fourth Movement, Wei Li
Theoretical Studies in Literature and Art
It is extremely meaningful, on the occasion of the hundredth anniversary of Wang Yuanhua's birth, to restudy his ideas of jingju. Wang's thoughts on the revival and development of jingju from the perspective of cultural heritage are highly valuable. He believes that, in terms of moral ideas, jingju is a medium and vehicle in disseminating grand traditions of Chinese culture towards smaller traditions. Meanwhile, considered as a performance system, jingju embodies the“bixing”mindset, the lyrical expression with mind-object interaction, as well as the flexible distance-immersion dynamic among performers and spectators. This results in a complete system of“virtuality, conventionalization, and ideographics”. He …
A Hundred-Year Modern Peking Opera: Practices And Experiences, Hengfu Zhu
A Hundred-Year Modern Peking Opera: Practices And Experiences, Hengfu Zhu
Theoretical Studies in Literature and Art
The hundred-year modern Peking opera (jingju) has gone through three stages. In the first stage, ranging from around 1910 to around 1964, jingju was used as agit-prop. In the second stage from 1964 to 1976, there emerged a series of new forms in acting, music, and stage art, with which theatre practitioners strove to use art to perform revolutionary historical stories or the struggle and construction in the socialist period. The third stage from 1976 to the present is characterized by a thematic departure from“politics”and“revolution”to the portrayal of“nobodies”by focusing on characters' psychology; this stage also features novel and beautiful physical …