By Daphne P. Lei
Bringing the examine of chinese language theatre into the 21st-century, Lei discusses ways that conventional artwork can live to tell the tale and thrive within the age of modernization and globalization. construction on her past paintings, this new publication specializes in a number of varieties of chinese language "opera" in destinations round the Pacific Rim, together with Hong Kong, Taiwan and California.
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Additional resources for Alternative Chinese Opera in the Age of Globalization: Performing Zero (Studies in International Performance)
Without the heavy burden of “national heritage” or “national drama,” the market for jingju in Japanese-occupied Taiwan seemed rather free. The 1924 founding of Taipei’s Yongle Theatre, a major theatre for visiting jingju troupes, showed that the art was taking root in Taiwan in the early twentieth century. The Gu Troupe (Gu jutuan) starred the young actress Gu Zhengqiu (1929–), whose five-year residence (1948–53) in Yongle also helped establish a solid foundation for jingju in Taiwan. Gu Zhengqiu was invited to visit for a month, but extended her stay because of her extreme popularity; she was forced to make Taiwan her new home when the government moved to Taiwan in 1949.
Mazu, the Heavenly Mother, the goddess widely worshipped by fishermen in southern coastal China and Taiwan, became the best choice for the first story of The Taiwan Trilogy. 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.
The military’s opera troupes were disbanded one after another, and in 1995, all remaining troupes were consolidated into one company, the National Guoguang Opera Company. 39 The “permanent” home for jingju, the China Armed Forces Literature and Art Activities Center, also closed down in 1995. The old connection between the military and jingju disappeared. At the same time, globalization was also playing an important part in the ongoing story of national arts. Because of Taiwan’s status as one of Asia’s Four Little Dragons, encouraging global perspectives among citizens became one of the aims of education.
Alternative Chinese Opera in the Age of Globalization: Performing Zero (Studies in International Performance) by Daphne P. Lei