Read e-book online Alternative Chinese Opera in the Age of Globalization: PDF

By Daphne P. Lei

Bringing the research of chinese language theatre into the 21st-century, Lei discusses ways that conventional paintings can live to tell the tale and thrive within the age of modernization and globalization. construction on her prior paintings, this new ebook specializes in quite a few varieties of chinese language "opera" in destinations round the Pacific Rim, together with Hong Kong, Taiwan and California.

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Read Online or Download Alternative Chinese Opera in the Age of Globalization: Performing Zero (Studies in International Performance) PDF

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Extra resources for Alternative Chinese Opera in the Age of Globalization: Performing Zero (Studies in International Performance)

Sample text

Through Wilson’s international fame, Taiwan jingju was hoping to win a truly global future, while still boasting its anchor in artistic tradition. There was in this Taiwan bargain a nostalgia for a future, a future when the metamorphosis of Chinese opera, with the help of high-tech experimentation, will stand in for an alternative China, a nation whose national identity could be contemporary and present and whose national art could be real art, not Oriental exoticism. Orlando may not have been a satisfactory production for traditional jingju fans; it nevertheless feeds a taste for retro-futuristic nostalgia and offers a glimmer of hope for future alternative Chinese opera.

Transnational Chinese were the major force behind the success of the California tour in 2006, which lasted a month and included performances and educational programs on four campuses of the University of California. The transnational capitalist class thus established an alternative China that transcended boundaries of different Chinese nations, eased their nostalgia for a twice-left home, and celebrated a national identity connecting present transnational wealth and prestige with past artistic glory.

52 Increasing participation by women during the second half of the twentieth century unfortunately did not completely change the gender dynamics of jingju; especially in Taiwan, the early military-based troupes as well as the competition-driven patriotic plays gave the art a masculine feel. Some new plays, appearing to be “apolitical” and “feminine,” started a new epoch in jingju history in Taiwan in the last decade. I use the word “feminine” here to indicate associations with harmlessness, prettiness, romanticism, or even frivolousness.

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