Chinese Theatre: An Illustrated History Through Nuoxi and Mulianxi

2021 ◽  
Author(s):  
Xiaohuan Zhao
Keyword(s):  
Chinese Theatre

How Chinese Theatre Moved to the Left in the Pre-War Years

1975 ◽  
Vol 27 (2) ◽  
pp. 245
Author(s):  
Yih-Jian Tai
Keyword(s):  
Chinese Theatre

scholarly journals Meaning in Movement: Adaptation and the Xiqu Body in Intercultural Chinese Theatre

2014 ◽  
Vol 58 (1) ◽  
pp. 42-63
Author(s):  
Emily E. Wilcox
Keyword(s):  
Chinese Theatre ◽  
Hedda Gabler ◽  
Spoken Drama ◽  
Acting Technique

Zhuli xiaojie (adapted from Strindberg's Miss Julie) and Xin bi tian gao (from Ibsen's Hedda Gabler) are two works in a recent series of intercultural xiqu productions by playwrights William Huizhu Sun and Faye Chunfang Fei. In these works, the xiqu body serves as a medium for theatrical expression, where music, costume, movement, and props come together in a super-expressive acting technique that foregrounds qing (情), or sentiment. In these adaptations, the xiqu body compensates for what is necessarily cut from the text in the transformation from spoken drama to xiqu performance.

CULTURAL CONTACTS BETWEEN RUSSIA AND CHINA IN THE FIELD OF MUSIC AND DRAMA THEATER (50s of the XXth century)

2021 ◽  
Vol 1 (2) ◽  
pp. 99-106
Author(s):  
Wang Kaidi ◽  
Keyword(s):  
Soviet Union ◽  
Musical Theater ◽  
Cultural Relations ◽  
Musical Drama ◽  
Republic Of China ◽  
Chinese Theatre ◽  
The Soviet Union ◽  
Starting Point ◽  
Queen Of Spades ◽  
Eugene Onegin

The article is devoted to the cultural cooperation between the USSR and the People's Republic of China in the field of musical theater. The Treaty of Friendship, Alliance and Mutual Assistance between these two countries, signed in Moscow on February 14, 1950, became a starting point in the development of cultural contacts. The most productive period was from 1949 to early 1960s. An important marker of the development of Soviet-Chinese cultural relations was the tour of theater troupes from both countries to the Soviet Union and the Celestial Empire. The Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater team visited China in 1954, and later the artists of the Shaoxing Opera and the Shanghai Theater of Beijing Musical Drama demonstrated their art in Russian cities. The two countries' directors showed mutual interest in the classical opera art of their counterparts: in Beijing and Tianjin P. I. Tchaikovsky's "Eugene Onegin" and "The Queen of Spades" were performed by Chinese singers, while in Russian cities the traditional Chinese theatre plays "The Spilled Cup" and "The Grey-Haired Girl" were staged by Russian artists.

Chinese Theatre and the Actor in Performance (review)

1998 ◽  
Vol 5 (2) ◽  
pp. 517-522
Author(s):  
Susan Pertel Jain
Keyword(s):  
Chinese Theatre

scholarly journals ‘Spoken Drama (Huaju) with a Strong Chinese Flavour’: The Resurrection and Demise of Popular Spoken Drama (Tongsu Huaju) in Shanghai in the 1950s and Early 1960s

2017 ◽  
Vol 42 (3) ◽  
pp. 265-285 ◽  
Author(s):  
SIYUAN LIU
Keyword(s):  
Policy Changes ◽  
Popular Entertainment ◽  
Chinese Theatre ◽  
Modern Chinese ◽  
The Future ◽  
The 1950S ◽  
Spoken Drama ◽  
And Performance

In the late 1950s and early 1960s in Shanghai, the remnant ofwenmingxi(civilized drama), China's first form of Western-style spoken drama, which had flourished in the 1900s and 1910s as a hybrid of Western spoken theatre and indigenous performance, experienced a brief resurrection and ultimate demise under the name oftongsu huaju(popular spoken drama). Considered until then as popular entertainment inferior to the officially recognized form of modern theatre,huaju(spoken drama), that adhered to Western realistic dramaturgy and performance,tongsu huajustaged a six-play festival in January 1957 thanks to liberal art policies, received a warm welcome in Beijing and other cities, and attracted the attention of somehuajuexperts who praised its affinity to indigenous performance, thus triggering a debate over its efficacy as a localized alternative tohuajufor the future of modern Chinese theatre. Using contemporary sources, this article examinestongsu huaju’s brief rise and fall in Shanghai, with a focus on its performances, the debate, the policy changes that decided the fate of China's first form of modern theatre, and the implications of its fate for the narrative of periodization in modern Asian theatre.

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