CHINOPERL: Journal of Chinese Oral and Performing Literature最新文献_第10页

Yangzhou: A Place in Literature, The Local in Chinese Cultural History 扬州:文学中的一个地方，中国文化史上的一个地方

CHINOPERL: Journal of Chinese Oral and Performing Literature Pub Date : 2016-07-02 DOI: 10.1080/01937774.2016.1242821

Tobie S. Meyer-Fong

引用次数: 0

Heluo dagu chuantong dashu xuan (Selected Traditional Grand Stories from Heluo Drumsinging): An Attempt to Negotiate between the Fixed and Plastic Aspects of Chinese Traditional Narrative Oral Literature 河洛大鼓传统说书选:中国传统叙事口头文学的固定与可塑两方面的协商尝试

CHINOPERL: Journal of Chinese Oral and Performing Literature Pub Date : 2016-07-02 DOI: 10.1080/01937774.2016.1183315

D. Lin

引用次数: 0

Press Reviews of Mei Lanfang in the Soviet Union, 1935, by Female Writers: Neher Versus Shaginyan 梅兰芳在苏联的新闻评论，1935，女作家:Neher vs . Shaginyan

CHINOPERL: Journal of Chinese Oral and Performing Literature Pub Date : 2016-07-02 DOI: 10.1080/01937774.2016.1242739

J. Risum

{"title":"Press Reviews of Mei Lanfang in the Soviet Union, 1935, by Female Writers: Neher Versus Shaginyan","authors":"J. Risum","doi":"10.1080/01937774.2016.1242739","DOIUrl":"https://doi.org/10.1080/01937774.2016.1242739","url":null,"abstract":"There are two interesting female exceptions to the all-male chorus reviewing the Chinese performer of female roles Mei Lanfang and his troupe in the local newspapers during Mei's Soviet tour in the spring of 1935. One is the well-established Russian writer Marietta Shaginyan (1888–1982), whose review was published in the foremost party organ, Pravda. The other is the exiled German actress Carola Neher (1900–1942), whose review could be read in the small Moscow-based newspaper for German-speaking residents, Deutsche Zentral-Zeitung. Both women only reviewed Mei this once. A comparison of their reactions as female artists to the same event is doubly interesting because they react to it in politically incompatible ways. Shaginyan follows the Soviet party line of the time, in contrast to Neher's more cosmopolitan point of view. I begin with Neher so as to throw Shaginyan into greater relief, and to uncover why Neher's expert professional analysis has so far been unduly and sadly neglected. To further set off their contrasting views of Mei Lanfang and Chinese theatre, I compare these to the more well-known viewpoints of Sergei Tretyakov and Bertolt Brecht.","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85080227","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Zhongguo baojuan shengtaihua baohu yu chuancheng jiaoliu yantao hui lunwen ji 中國寶卷生態化保護與傳承交流研討會論文集 (Collected articles from a conference on the ecological preservation and transmission of baojuan in China) Zhongguo baojuan shengtaihua baohu yu chuancheng jiaoliu yantao hui lunwen ji 中国宝卷生态化保护与传承交流研讨会论文集 (Collected articles from a conference on the ecological preservation and transmission of baojuan in China)

CHINOPERL: Journal of Chinese Oral and Performing Literature Pub Date : 2016-07-02 DOI: 10.1080/01937774.2016.1183319

Rostislav Berezkin

{"title":"Zhongguo baojuan shengtaihua baohu yu chuancheng jiaoliu yantao hui lunwen ji 中國寶卷生態化保護與傳承交流研討會論文集 (Collected articles from a conference on the ecological preservation and transmission of baojuan in China)","authors":"Rostislav Berezkin","doi":"10.1080/01937774.2016.1183319","DOIUrl":"https://doi.org/10.1080/01937774.2016.1183319","url":null,"abstract":"fruits, flowers, pets, and food. He ends with a wish for the eradication of all mosquitoes. It is hard to predict how this bookmight be used. Clearly the editors intend for it for the classroom market. But in what types of courses might it be assigned as a whole? Will it inspire new courses onYangzhou literature or history? Thanks to the Yangzhou Club and its affiliates, there is actually now enough primary and secondarymaterial in English for sucha class. Butwould students signup for a semester onwhat is to theman almost totally unknown city? Perhaps a Suzhou-Yangzhou-Shanghai course? Or Literary Cities of Late Imperial China? Or will this volume be disaggregated for selective use in courses on gardens, material culture, urban life, and performing arts—or for courses reflecting on the complex interactions between local and national, oral and written, elite and popular? In any event, infused with nostalgia and affection for its subject city, this collection makes a useful contribution and is also a pleasure to read. Perhaps the reputational heft of the assembled translators and texts will contribute to the renewal of Yangzhou’s status and fame?","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90680849","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Worldly Stage: Theatricality in Seventeenth-Century China 世界舞台:17世纪中国的戏剧

CHINOPERL: Journal of Chinese Oral and Performing Literature Pub Date : 2016-07-02 DOI: 10.1080/01937774.2016.1183320

Mei Chun

引用次数: 1

Kunqu baizhong, Dashi shuoxi (One hundred pieces of Kunqu, Master performers talk about their scenes): A Review Essay 昆曲百曲《大石说》(百曲名家谈戏)述评

CHINOPERL: Journal of Chinese Oral and Performing Literature Pub Date : 2016-07-02 DOI: 10.1080/01937774.2016.1242835

Kim Hunter Gordon

引用次数: 1

Performance Review: The 2015 Inaugural Shanghai Experimental Xiqu (Chinese Indigenous Theater) Festival, December 1–6 表演回顾:2015首届上海实验戏曲节，12月1-6日

CHINOPERL: Journal of Chinese Oral and Performing Literature Pub Date : 2016-01-02 DOI: 10.1080/01937774.2016.1183329

Josh Stenberg

{"title":"Performance Review: The 2015 Inaugural Shanghai Experimental Xiqu (Chinese Indigenous Theater) Festival, December 1–6","authors":"Josh Stenberg","doi":"10.1080/01937774.2016.1183329","DOIUrl":"https://doi.org/10.1080/01937774.2016.1183329","url":null,"abstract":"A consistent forum for the presentation of xiqu戲曲 (Chinese indigenous theater) in “little theatre” (xiaojuchang小劇場) form (translated as “experimental” on all promotional material for the Shanghai festival) is overdue. Pretty much the entirety of the xiqu world is in agreement that xiqu arts and audiences have long been in crisis. There is perhaps an element of ideological determinism in this narrative— on-its-last-legs is a default story for tradition anywhere—but there can be no doubt that troupes face a rapidly-changing policy environment and pressure to experiment and modernize. How they should do this, and where the bounds of such reforms should be set, are questions which continue to drive the work of xiqu practitioners, and their interaction with spoken theater and foreign artists. “Little theatre,” a term usually associated with Taiwanese spoken theater and lately with non-official PRC spoken theater (huaju 話劇) performance, is one option for xiqu troupes, especially given the bloatedness and complacency of many gala xiqu productions. To date, for two years running, festivals of “little theatre” xiqu plays lasting at least a month that involved at least 12 plays and fifty performances have been held in Beijing. The festival under review, whose Chinese title was Xiqu huxi: 2015 Shanghai xiaojuchang xiqu jie 戲曲呼吸: 2015 上海小劇場戲曲節 (Let Chinese indigenous theater breathe: The 2015 Shanghai small theater Chinese indigenous theater festival) was smaller (six plays and seven performances) and shorter in length (only a week). Plans are in the works for the 2016 edition.","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80472020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 10

Liu Qingti's Canine Rebirth and Her Ritual Career as the Heavenly Dog: Recasting Mulian's Mother in Baojuan (Precious Scrolls) Recitation 刘清提犬的重生与天犬的仪式生涯——《宝卷》中穆莲母亲的重铸

CHINOPERL: Journal of Chinese Oral and Performing Literature Pub Date : 2016-01-02 DOI: 10.1080/01937774.2016.1183317

Xiaosu Sun

{"title":"Liu Qingti's Canine Rebirth and Her Ritual Career as the Heavenly Dog: Recasting Mulian's Mother in Baojuan (Precious Scrolls) Recitation","authors":"Xiaosu Sun","doi":"10.1080/01937774.2016.1183317","DOIUrl":"https://doi.org/10.1080/01937774.2016.1183317","url":null,"abstract":"In the Tang dynasty Dunhuang transformation text (bianwen) about Mulian rescuing his mother from the underworld, Madame Liu Qingti, mother of the filial monk Mulian, is allowed to ascend to the Trāyastriṃśa Heaven once her sins have been purged. A similar happy ending is found in the most widespread versions of the legend. However, in many baojuan (precious scrolls) from the late imperial period and the modern era, Qingti is depicted as an inveterate sinner who continues to misbehave when reborn as a dog. For example, in the baojuan about Mulian used nowadays in Changshu, southern Jiangsu province, in a ritual to expel evil spirits and ensure a successful pregnancy, Qingti appears as the Heavenly Dog—a malign, infant-eating star spirit capable of causing miscarriage or neonatal death. This paper combines fieldwork on a ritual to expel the Heavenly Dog in Changshu and textual analysis to explore the ways in which Liu Qingti has been recast in baojuan literature. I consider, in particular, the motif of Qingti's unenlightened soul, and its relation to her ritual career as the Heavenly Dog in baojuan recitation. Special attention is paid to the different ritual contexts of such rituals.","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84789665","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 3

Performance Review: Two Beijing Spoken Drama Comedies Featuring Social Critique Seen in the Summer of 2014 表演回顾:2014年夏季两部以社会批判为主题的北京口语喜剧

CHINOPERL: Journal of Chinese Oral and Performing Literature Pub Date : 2016-01-02 DOI: 10.1080/01937774.2016.1183328

Jing Shen

{"title":"Performance Review: Two Beijing Spoken Drama Comedies Featuring Social Critique Seen in the Summer of 2014","authors":"Jing Shen","doi":"10.1080/01937774.2016.1183328","DOIUrl":"https://doi.org/10.1080/01937774.2016.1183328","url":null,"abstract":"In the summer of 2014 I had the chance to see performances of two spoken drama (huaju 話劇) comedies in Beijing: Zhao ge laopo xian yaohao 找個老婆先搖號 (To find a wife, first draw lots), staged by Leizile Xiaogongchang 雷子樂笑工廠 (Leizile laugh factory; a.k.a. Alan’s Studio), and Yangtai 陽台 (Balcony), staged by DaDao Wenhua大道文化 (DaDao culture). Although the two plays used different types of stagecraft and actors, they both investigate similar social issues in contemporary China at the same time that they provide entertainment. Zhao ge laopo xian yaohao can be read as an irreverent parody of Lao She’s老舍 (1899–1966) Beijing-flavored classic Luotuo Xiangzi駱駝祥子 (Rickshaw Boy). In the play a migrant worker named Bei Shangguang 北上廣, riding a bicycle absentmindedly, runs into a car driven by a huge Beijing girl, Gong Linna 宫臨娜. She develops a crush on this migrant worker at first sight, although he is not interested in her at all. As if destined, they encounter again in a library in which he is hiding from his fiancée’s family, and meet a third time yet when they happen to sit next","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78289727","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

La réforme de l'opéra de Pékin 北京歌剧院的改革

CHINOPERL: Journal of Chinese Oral and Performing Literature Pub Date : 2016-01-02 DOI: 10.1080/01937774.2016.1183322

Josh Stenberg

引用次数: 0