{"title":"北美的唐人街剧院","authors":"L. Coderre","doi":"10.1080/01937774.2018.1524416","DOIUrl":null,"url":null,"abstract":"In some ways, Nancy Yunhwa Rao’s Chinatown Opera Theater in North America is the quintessential response to Yu’s call, for there is little doubt that the defining tunes of the Chinese diaspora in the nineteenth century and much of the twentieth were, in the most literal sense, those of the Cantonese opera. With her detailed study of the second “golden age” of Chinatown theaters—the 1920s—in North America, Rao adds to recent English-language work on Cantonese opera as a transnational art form and business, and she does so in a way that draws on an impressive variety of sources, many of them featuring thespians, their promoters, and their fans in their own words and voices. From Chinatown newspaper write-ups to playbills to sound recordings, the reader is afforded a glimpse of a complex web of commercial interests and theatrical rivalries at the very heart of the Chinese immigrant experience. Much of Rao’s contribution stems from her articulation of the important role of Cantonese opera in Chinatown communities in the 1920s, her aim being to “release these theaters from their repressed silence and perpetual invisibility, as well as separate them from the myths about them” (p. 9). Chief among these myths are the notions of marginality—of actors just passing through, of theaters’ questionable moral standing, of Chinese opera in the American musical imaginary—and fixity —of an unchanging repertoire and performance practice divorced from the geopolitical realities and dominant aesthetic trends of the day. By contrast, Rao “consider [s] Chinatown theaters to be dynamic, rather than timeless” (p. 12), wherein their dynamism is borne of commercial, cultural, and civic engagement, not isolation. Specifically, Rao argues that Chinatown opera theaters were influenced by five key factors:","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Chinatown Opera Theater in North America\",\"authors\":\"L. 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引用次数: 0
摘要
在某种程度上,饶允华(Nancy Yunhwa Rao)在北美的唐人街歌剧院(Chinatown Opera Theater)是对余的呼吁的典型回应,因为毫无疑问,在19世纪和20世纪的大部分时间里,华人侨民的典型曲调,从最字面的意义上讲,是粤剧的曲调。她详细研究了唐人街戏剧的第二个“黄金时代”——20世纪20年代——在北美,饶氏在最近的英语作品中加入了粤剧作为一种跨国艺术形式和商业的研究,她以一种令人印象深刻的方式利用了各种各样的资源,其中许多都以演员、他们的推动者和粉丝自己的语言和声音为特色。从唐人街的报纸报道到剧本再到录音,读者可以一窥中国移民经历的核心,一个由商业利益和戏剧竞争构成的复杂网络。饶的大部分贡献源于她对粤剧在20世纪20年代唐人街社区中的重要作用的阐述,她的目标是“将这些剧院从压抑的沉默和永久的隐形中解放出来,并将它们与关于它们的神话分开”(第9页)。这些神话中最主要的是边缘化的概念——演员只是过客,剧院可疑的道德地位,在美国音乐的想象和固定中,中国戏曲的不变的剧目和表演实践脱离了地缘政治现实和当时占主导地位的审美趋势。相比之下,Rao“认为唐人街的剧院是动态的,而不是永恒的”(第12页),它们的活力来源于商业、文化和公民的参与,而不是孤立的。具体来说,饶认为唐人街的剧院受到五个关键因素的影响:
In some ways, Nancy Yunhwa Rao’s Chinatown Opera Theater in North America is the quintessential response to Yu’s call, for there is little doubt that the defining tunes of the Chinese diaspora in the nineteenth century and much of the twentieth were, in the most literal sense, those of the Cantonese opera. With her detailed study of the second “golden age” of Chinatown theaters—the 1920s—in North America, Rao adds to recent English-language work on Cantonese opera as a transnational art form and business, and she does so in a way that draws on an impressive variety of sources, many of them featuring thespians, their promoters, and their fans in their own words and voices. From Chinatown newspaper write-ups to playbills to sound recordings, the reader is afforded a glimpse of a complex web of commercial interests and theatrical rivalries at the very heart of the Chinese immigrant experience. Much of Rao’s contribution stems from her articulation of the important role of Cantonese opera in Chinatown communities in the 1920s, her aim being to “release these theaters from their repressed silence and perpetual invisibility, as well as separate them from the myths about them” (p. 9). Chief among these myths are the notions of marginality—of actors just passing through, of theaters’ questionable moral standing, of Chinese opera in the American musical imaginary—and fixity —of an unchanging repertoire and performance practice divorced from the geopolitical realities and dominant aesthetic trends of the day. By contrast, Rao “consider [s] Chinatown theaters to be dynamic, rather than timeless” (p. 12), wherein their dynamism is borne of commercial, cultural, and civic engagement, not isolation. Specifically, Rao argues that Chinatown opera theaters were influenced by five key factors:
期刊介绍:
The focus of CHINOPERL: Journal of Chinese Oral and Performing Literature is on literature connected to oral performance, broadly defined as any form of verse or prose that has elements of oral transmission, and, whether currently or in the past, performed either formally on stage or informally as a means of everyday communication. Such "literature" includes widely-accepted genres such as the novel, short story, drama, and poetry, but may also include proverbs, folksongs, and other traditional forms of linguistic expression.