Download Alternative Chinese Opera in the Age of Globalization: by Daphne P. Lei PDF

By Daphne P. Lei

Bringing the learn of chinese language theatre into the 21st-century, Lei discusses ways that conventional artwork can live on and thrive within the age of modernization and globalization. construction on her past paintings, this new ebook specializes in a number of types of chinese language "opera" in destinations round the Pacific Rim, together with Hong Kong, Taiwan and California.

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

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

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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.

The procession usually takes a few days to complete, and countless pilgrims follow her on foot. 44 Like most bensheng locals, Mazu came from southern China and made Taiwan her home. Mazu has been “nativitized” and become a Taiwan local goddess. Marketed as a “new large-scale mythological jingju,” Mazu appealed to the taste for the motifs and traditions of popular religion. 45 Those publications, circulating in the lower strata of society, might be regarded as mainstays of what Foucault calls popular knowledge; they represent the paradigms and belief system of people.

Translations of terms and titles are also my own where no official translation is available. Chapter outlines All the alternative Chinese opera performances discussed in this book took place in the first decade of the millennium, in the Chinese “peripheries” (Taiwan, Hong Kong, California). The general climate of decline in traditional art, local policies, and political tensions between the center and peripheries have combined to make mounting these performances a tremendous effort that requires multivalent collaboration, intricate negotiation, and substantial capital and manpower.

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