A Literary Exploration of Existential Feminism in the Novella The Moon Opera Through the Application of Intertextuality Theory

Second-wave feminism was a period of feminist activity that began in the early 1960s in the western world, which focused on criticizing the patriarchal institutions or cultural practices throughout the society. Originating several centuries earlier, Chinese opera culture has been ahead of its time in demonstrating the male-dominated society’s oppression against women. As one of the principal founders of second-wave feminism, Simone de Beauvoir’s classical feminist theory in her book, The Second Sex, mainly introduced the sex-gender distinction. In this article, the author aims to reveal how Bi Feiyu, the writer of The Moon Opera, successfully conveyed existential feminist ideas, especially Beauvoir’s famous assertion that "one is not born but becomes a woman", through his careful selection of the art type Qing Yi (Qingyi is the main woman role in Peking Opera and often plays dignified, serious, and decent characters, which are mostly wives or mothers undergoing severe ordeal) and the portrayal of two generations of Qing Yi performers. In the process of analysis, the author not only examined Bi Feiyu’s application of intertextuality theory, but also derived conclusions from other mainstream feminist thoughts such as the feminist theory of the dressed female body and the transactional sex theory.

Analysis on the Development Strategy of Traditional Chinese Opera Based on Digital Media Technology

With the development of the times and the acceleration of urban modernization, a lot of excellent traditional culture gradually fade out of our daily life due to the lack of propaganda and practical application. Against the background of the continuous development of contemporary digital media technology, the development of opera has a ushered in a new era. Chinese traditional opera culture is one of China's excellent traditional culture. The integration with modern digital media technology and analysis of development strategy can bring new visual sense and sensory experience to the current opera culture. Based on the historical background of digital media technology, this paper analyzes the bottlenecks and problems in the development of traditional Chinese opera and the strategies for the application of digital media technology is put forward in the development of traditional Chinese opera with summary of the application strategies of traditional Chinese opera in digital media technology platform and media. It is our hope that the analysis and development strategy of this paper will provide some reference value for the application of digital media technology in the development of opera in the future.

The Integration of Chinese Opera Traditions into New Musical Compositions

<p>Almost fifty years ago Chinese composer Chou Wen-chung proposed a musical “re-merger” of East and West. For many Chinese composers of today a sense of historical continuity and an awareness of inherited musical traditions are important contributor to cultural identity, and a basis on which to build the future. The generation that emerged after the Cultural Revolution found new freedoms, and has become, at the beginning of the twentyfirst century, a significant presence on the international musical stage, as the paradigm shifts away from being European-centered, to a culture belonging to the “global village”. As with many other Chinese composers of my generation, the creation of new compositions is both a personal expression and a manifestation of cultural roots. Techniques of “integration” and “translation” of musical elements derived from traditional Chinese music and music-theatre are a part of my musical practice. The use of traditional Chinese instruments, often in combination with Western instruments, is a no longer a novelty. The written exegesis examines some of the characteristic elements of xìqǜ (the generic term for all provincial Chinese operas), including dǎ (percussion - an enlarged interpretation of dǎ, as found in chuānjù gāoqiāng Sichuan gāoqiān opera), bǎnqiāng (The musical style that characterizes Chinese xìqǚ), and niànbái (recitation and dialogue), as well as the kuàibǎnshū (storytelling with percussion) of qǚyì (a term to use to include all folk genres), and shāngē (mountain song). The techniques employed in integrating and translating these elements into original compositions are then analyzed. In the second volume of the thesis the scores of five compositions are presented, four of the five works are set in Chinese, exploring the dramatic aspects of language, and may be considered music-theatre, one being an opera scene intended for stage production.</p>

The Integration of Chinese Opera Traditions into New Musical Compositions

<p>Almost fifty years ago Chinese composer Chou Wen-chung proposed a musical “re-merger” of East and West. For many Chinese composers of today a sense of historical continuity and an awareness of inherited musical traditions are important contributor to cultural identity, and a basis on which to build the future. The generation that emerged after the Cultural Revolution found new freedoms, and has become, at the beginning of the twentyfirst century, a significant presence on the international musical stage, as the paradigm shifts away from being European-centered, to a culture belonging to the “global village”. As with many other Chinese composers of my generation, the creation of new compositions is both a personal expression and a manifestation of cultural roots. Techniques of “integration” and “translation” of musical elements derived from traditional Chinese music and music-theatre are a part of my musical practice. The use of traditional Chinese instruments, often in combination with Western instruments, is a no longer a novelty. The written exegesis examines some of the characteristic elements of xìqǜ (the generic term for all provincial Chinese operas), including dǎ (percussion - an enlarged interpretation of dǎ, as found in chuānjù gāoqiāng Sichuan gāoqiān opera), bǎnqiāng (The musical style that characterizes Chinese xìqǚ), and niànbái (recitation and dialogue), as well as the kuàibǎnshū (storytelling with percussion) of qǚyì (a term to use to include all folk genres), and shāngē (mountain song). The techniques employed in integrating and translating these elements into original compositions are then analyzed. In the second volume of the thesis the scores of five compositions are presented, four of the five works are set in Chinese, exploring the dramatic aspects of language, and may be considered music-theatre, one being an opera scene intended for stage production.</p>

Spiritual Inheritance: A Case Study of Henan Opera

Despite many scholarly debates on Chinese opera, the study of how opera hit rock bottom remains scarce. Therefore, this article addresses this reason through a case study of Henan Opera. Informed by a systematic approach, there have been various improvements, good and bad criticisms, as well as affirmations in regard to opera. The lack of the Chinese opera spirit is the root of the difficulties in the development of Chinese opera.

Explore into the Infinite Wonder in Time and Space--On the Pursuit of the Time-Space on an Idea-Sketching Stage in Chinese Opera

Chinese opera is a highly comprehensive opera that attaches paramount importance to imagery. The qualities of simulative performance, including its orientation, immediacy and flowability, constitutes the transcendent and free time-space of the art of Chinese opera. Considering the profound impact that the spirit of idea-sketching (Xieyi in Chinese, which is an aesthetic conception in China that emphasizes on capturing the spiritual essence rather than the superficial appearance) in Chinese traditional culture has on opera creation, an exploration into the impressionist views in Chinese traditional culture will be necessary to understand the beauty of idea-sketching Chinese opera. The creation of opera directors should be based on the traditional Chinese aesthetics centering on spirit conveying and essence capturing. Opera directors need to explore how the idea-sketching spirit contained in Chinese traditional culture can be applied and extended on the opera stage.

ON THE IMAGE OF FEMALE MUSIC IN CHINESE NATIONAL OPERA

Chinese national opera has a history of more than 100 years. From "Sparrow and Children" created by Li Jinhui in the 1920s, it is known as the embryonic form of Chinese national opera. Then Chinese opera has experienced five periods of development. This paper will sort out the development of Chinese national opera, focus on the female characters described in opera according to the historical period of combing, division, and select the most representative of the four opera heroine Xi er, celery, Jiang Jie, Aiguri, to analyze its musical image. The conclusion of this research is of practical significance to promote the und