By Daphne P. Lei
Bringing the learn of chinese language theatre into the 21st-century, Lei discusses ways that conventional paintings can continue to exist and thrive within the age of modernization and globalization. development on her prior paintings, this new publication makes a speciality of a number of different types of chinese language "opera" in destinations round the Pacific Rim, together with Hong Kong, Taiwan and California.
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Extra info for Alternative Chinese Opera in the Age of Globalization: Performing Zero (Studies in International Performance)
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.
Mazu was born mortal and spent her life helping people; she became immortal (as sea protectress) when she was 27 years old. She has numerous pious followers. Her cult followed early immigrants from Fujian province to Taiwan, and her temples are to be found everywhere in Taiwan. Every year, during the month of the “Mazu craze” (the third month in the lunar calendar, associated with her birthday), many temple celebration activities take place, including a unique custom known as “walking the street” (zoujie), in which a procession escorts a statue of Mazu from temple to temple and from town to town so that she can oversee all her people.
It is through institutions that a nation is constructed as a real entity and a culture is formulated as an object that the nation owns. ”12 However, national culture, the apparently natural secretion of a nation, is usually not organically formed. I would even argue that only the nation can legitimize and further promote national culture, which in turn solidifies the status of the nation-state. The symbiosis of national culture and nationstate explains the situation of jingju in Taiwan. With its popularity and its status as “national drama,” jingju was the perfect candidate to serve as the “national culture” or “national heritage” of the ROC in Taiwan.
Alternative Chinese Opera in the Age of Globalization: Performing Zero (Studies in International Performance) by Daphne P. Lei