Chinese opera
 | ||||
| Music of China | ||||
| General topics | ||||
|---|---|---|---|---|
| Genres | ||||
| Specific forms | ||||
| Media and performance | ||||
|
||||
| Nationalistic and patriotic songs | ||||
|
||||
| Regional music | ||||
| Chinese opera | |||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Traditional Chinese | Hí khúc | ||||||||||||||||||||||
| Simplified Chinese | Hí khúc | ||||||||||||||||||||||
| |||||||||||||||||||||||
Traditional Chinese opera(traditional Chinese:Hí khúc;simplified Chinese:Hí khúc;pinyin:xìqǔ;Jyutping:hei3 kuk1), orXiqu,is a form ofmusical theatrein China with roots going back to the early periods in China. It is an amalgamation of various art forms that existed in ancient China, and evolved gradually over more than a thousand years, reaching its mature form in the 13th century, during theSong dynasty(960–1279). Early forms of Chinese theater are simple; however, over time, various art forms such as music, song and dance, martial arts, acrobatics, costume and make-up art, as well as literary art forms were incorporated to form traditional Chinese opera. Performers had to practice for many years to gain an understanding of the roles. Exaggerated features and colors made it easier for the audience to identify the roles portrayed.[1][2][3][4]
There are over a hundred regional branches of traditional Chinese opera today. In the 20th century, thePeking operaemerged in popularity and has come to known as the "national theatre" of China,[5]but other genres likeYue opera,Cantonese opera,Yu opera,kunqu,qinqiang,Huangmei opera,pingju,andSichuan operaare also performed regularly before dedicated fans. Their differences are mainly found in the music andtopolect;the stories are often shared and borrowed.[6]With few exceptions (such asrevolutionary operasand to some extentShanghai operas) the vast majority of Chinese operas (includingTaiwanese operas) are set in China before the 17th century, whether they are traditional or newly written.
For centuries, Chinese opera was the main form of entertainment for both urban and rural residents in China as well as the Chinese diaspora. Its popularity declined sharply in the second half of the 20th century as a result of both political and market factors. Language policies discouraging topolects in Taiwan and Singapore, official hostility against rural religious festivals in China, andde-Sinicizationin Taiwan have all been blamed for the decline of various forms in different times, but overall the two major culprits wereCultural Revolution— which saw traditional culture systematically erased, innumerable theatre professionals viciously persecuted, and younger generation raised with far lesser exposure to Chinese opera – and modernization, with its immense social impact and imported values that Chinese opera has largely failed to counter.[7]The total number of regional genres was determined to be more than 350 in 1957,[8]but in the 21st century the Chinese government could only identify 162 forms for itsintangible cultural heritagelist, with many of them in immediate danger of disappearing.[9]For young people, Chinese opera is no longer part of the everyday popular music culture, but it remains an attraction for many older people who find in it, among other things, a national or regional identity.
History
[edit]Six dynasties to Tang
[edit]An early form of Chinese drama is theCanjun Opera( tòng quân diễn, or Adjutant Play) which originated from theLater ZhaoDynasty (319–351).[10][11][12]In its early form, it was a simple comic drama involving only two performers, where a corrupt officer,Canjunor theadjutant,was ridiculed by a jester named Grey Hawk ( thương cốt ).[10]The characters inCanjun Operaare thought to be the forerunners of the fixed role categories of later Chinese opera, particularly of its comic chou ( xấu ) characters.[13]
Various song and dance dramas developed during theSix Dynastiesperiod. During theNorthern QiDynasty, a masked dance called the Big Face ( đại mặt, which can mean "mask", alternativelydaimianĐại mặt, and it was also called The King of Lanling, Lan Lăng Vương ), was created in honour ofGao Changgongwho went into battle wearing a mask.[14][15]Another was calledBotou( bát đầu, also chén ), a masked dance drama from theWestern Regionsthat tells the story of a grieving son who sought a tiger that killed his father.[16]In The Dancing Singing Woman ( đạp dao nương ), which relates the story of a wife battered by her drunken husband, the song and dance drama was initially performed by a man dressed as a woman.[15][17]The stories told of in these song-and-dance dramas are simple, but they are thought to be the earliest pieces of musical theatre in China, and the precursors to the more sophisticated later forms of Chinese opera.[15][18]
These forms of early drama were popular in theTang dynastywhere they further developed. For example, by the end of the Tang Dynasty theCanjun Operahad evolved into a performance with more complex plot and dramatic twists, and it involved at least four performers.[19]The early form of Chinese theatre became more organized in theTang dynastywithEmperor Xuanzong(712–755), who founded the "Pear Garden"( lê viên / lê viên; líyuán), the first academy of music to train musicians, dancers and actors.[20]The performers formed what may be considered the first known opera troupe in China, and they performed mostly for the emperors' personal pleasure. To this day operatic professionals are still referred to as "Disciples of the Pear Garden" ( lê viên đệ tử / lê viên đệ tử, líyuán dìzi).[21]
Song to Qing
[edit]By the Song Dynasty,Canjun Operahad become a performance that involved singing and dancing, and led to the development ofZaju( tạp kịch ). Forms such as theZajuandNanxi( kịch Nam ) further matured in theSong dynasty(960–1279) andYuan dynasty(1279–1368). Acts based on rhyming schemes and innovations such as specialized roles likeDan( đán, dàn, female),Sheng( sinh, shēng, male),Hua( hoa, huā, painted-face) andChou( xấu, chŏu, clown) were introduced into the opera. Although actors in theatrical performances of the Song Dynasty strictly adhered to speaking inClassical Chineseonstage, during the Yuan Dynasty actors speaking or performinglyricsinthe vernacular tonguebecame popular on stage.[22]
In the Yuan poetic drama, only one person sang for all of the four acts, but in the poetic dramas that developed fromNanxiduring theMing dynasty(1368–1644), all the characters were able to sing and perform. A playwrightGao Minglate in the Yuan dynasty wrote an opera calledTale of the Pipawhich became highly popular, and became a model forMing dynastydrama as it was the favorite opera of the first Ming emperorZhu Yuanzhang.[23][24]The presentation at this point resembled the Chinese opera of today, except that the librettos were then very long.[25]The operatic artists were required to be skilled in many fields; according toRecollections of Tao An( Đào Am Mộng Ức ) byZhang Dai,performers had to learn how to play various musical instruments, singing and dancing before they were taught acting.[26]
The dominant form of the Ming and earlyQingdynasties wasKunqu,which originated in theWu cultural area.A famous work in Kunqu isThe Peony PavilionbyTang Xianzu.Kunqu later evolved into a longer form of play calledchuanqi,which became one of the five melodies that made upSichuan opera.[27]Currently Chinese operas continue to exist in 368 different forms, the best known beingBeijing opera,which assumed its present form in the mid-19th century and was extremely popular in the latter part of theQing dynasty(1644–1911).
In Beijing opera,traditional Chinese string and percussion instrumentsprovide a strong rhythmic accompaniment to the acting. The acting is based on allusion: gestures, footwork, and other body movements express such actions as riding a horse, rowing a boat, or opening a door. Spoken dialogue is divided into recitative and Beijing colloquial speech, the former employed by serious characters and the latter by young females and clowns. Character roles are strictly defined, and each character have their own elaborate make-up design. The traditional repertoire of Beijing opera includes more than 1,000 works, mostly taken from historical novels about political and military struggles.
1912–1949
[edit]At the turn of the 20th century, Chinese students returning from abroad began to experiment with Western plays. Following theMay Fourth Movementof 1919, a number of Western plays were staged in China, and Chinese playwrights began to imitate this form. The most notable of the new-style playwrights wasCao Yu(b. 1910). His major works—Thunderstorm,Sunrise,Wilderness,andPeking Man—written between 1934 and 1940, have been widely read in China.
The Republican Era saw the rise ofYue operaand all female Yue Opera troupes in Shanghai and Zhe gian g. A woman-centric form, with all female casts and majority female audience members, plots were often love stories. Its rise was related to the changing place of women in society.
In the 1930s, theatrical productions performed by traveling Red Army cultural troupes in Communist-controlled areas were consciously used to promote party goals and political philosophy. By the 1940s, theater was well established in the Communist-controlled areas.
1949–1985
[edit]
In the early years of the People's Republic of China, development ofPeking operawas encouraged; many new operas on historical and modern themes were written, and earlier operas continued to be performed. As a popular art form, opera has usually been the first of the arts to reflect changes in Chinese policy. In the mid-1950s, for example, it was the first to benefit under theHundred Flowers Campaign,such as the birth ofJilin opera.
In 1954 there were approximately 2000 government-sponsored opera troupes working throughout China each consisting of 50-100 professional performers.[28]Despite its popularity, Peking opera made up a small percentage of these troupes. After theChinese Communist Revolutiona new genre emerged known asSchinggoopera which encompassed the revolutionary energy of the current sociopolitical climate. This operatic style built its foundation from the folk traditions of the rural community while also becoming influenced by European music.[28]
Opera may be used as commentaries on political affairs, and in November 1965, the attack on Beijing deputy mayorWu Hanand his historical playHai Rui Dismissed from Officeas anti-Mao,signaled the beginning of theCultural Revolution.During the Cultural Revolution, most opera troupes were disbanded, performers and scriptwriters were persecuted, and all operas were banned except theeight "model operas"that had been sanctioned byJiang Qingand her associates. Western-style plays were condemned as "dead drama" and "poisonous weeds", and were not performed. After the fall of theGang of Fourin 1976, Beijing Opera enjoyed a revival and continued to be a very popular form of entertainment, both on stage and television.
Present
[edit]In the 21st century, Chinese opera is seldom publicly staged except in formal Chinese opera houses. It may also be presented during the lunar seventh month ChineseGhost Festivalin Asia as a form of entertainment to the spirits and audience. More than thirty famous pieces of Kunqu opera continue to be performed today, includingThe Peony Pavilion,The Peach Blossom Fan,and adaptions ofJourney to the West,Romance of the Three Kingdoms.
In 2001, Kunqu was recognized as Masterpiece of Oral and Intangible Heritage of Humanity by United Nations Educational, Cultural and Scientific Organization (UNESCO)
Costume and make-up
[edit]
 | This articleneeds additional citations forverification.(May 2020) |
Face paint plays a significant role in portraying the internal complexities of the performer's character with hundreds of combinations of colours and patterns.[28]Below are some general meanings which may be further focused on extremely specific details depending on the facial location of the colour.[29]
- Red– bravery, fidelity, loyalty, chastity
- Black– impatience, straightforwardness, vulgarity, rudeness
- White– cunning, treachery, villainy, betrayal
- Blue– ferocity, courage, uncontrollability, cruelty, violence
- Yellow– cleverness, secretiveness, mystery, evil
- Purple– loyalty, filial piety, age
- Green– bravery, purpose, an evil spirit
- Gold and silver– godhood, divinity, the supernatural (monsters, spirits, demons)[28][29]
Musical characteristics
[edit]The musical components of Chinese opera are created as an inseparable entity from voice and dance/movement. Both the musicians and the actors contribute to composing musical accompaniment. This collaborative process is reflected within the production by the immaculate synchronicity between the actors' movements and the sounds of the orchestra. The musicians are required to flawlessly support the actors with sound, often waiting for vocal cues or physical signals such as the stomp of a foot. Traditionally, musicians often performed from memory – a feat made even more impressive considering pieces or sections of compositions were subject to infinite variations and often repeated.[28]
The orchestra utilized a pentatonic scale until a 7-note scale was introduced by Mongolia during theYuan Dynasty.The two extra notes functioned similarly toaccidentalswithinwestern notation.[28]
Instruments
[edit]The instruments in the orchestra were divided into two categories:
- wen– string and wind instruments: characterized as clear, soft, or gentle and typically used during vocal pieces.[28]
- wu– percussive instruments: led dancing and movement, kettle drum "conducts" the whole orchestra, gongs signal audience to sit, appearance of female lead, anger, and fighting.[28]
String
[edit]Traditional Chinesestring instrumentsused in Chinese Opera include:
Percussion
[edit]Traditional Chinesepercussion instrumentsused in Chinese Opera include:
Woodwind
[edit]Traditional Chinesewoodwind instrumentsused in Chinese Opera include:
Regional genres
[edit]| English name | Chinese name(s) | Major geographical areas |
|---|---|---|
| Peking opera | Jingju ( kinh kịch ) | Cities nationwide on mainland, Hong Kong, Taiwan |
| Kunqu | Kunqu ( côn khúc ) or Kunju ( côn kịch ) | Cities nationwide on mainland, Taiwan |
| Nuo opera | Nuoxi ( na diễn ) | Certain rural areas inHunan,Hubei,Guizhou,Jiangxi, Guangxi, Anhui,Shanxi,Hebei |
| Northeast China | ||
| Long gian g opera | Long gian gju ( kịch Long Giang ) | Heilong gian g |
| Jilin opera | Jiju ( Cát kịch ) | Jilin |
| Laba opera | Labaxi ( loa diễn ) | Haicheng(centralLiaoning) |
| North China | ||
| Ping opera | Pingju ( Bình kịch ) | Hebei,Beijing,Tianjin,Heilong gian g,Jilin,Liaoning |
| Hebei bangzi | Hebei bangzi ( điệu Sênh Hà Bắc ) | Hebei,Beijing,Tianjin,northwesternShandong |
| Lao điểu | Lao điểu ( luận điệu cũ rích ) | CentralHebei,Beijing,Tianjin |
| Hahaqiang | Hahaqiang ( ha ha khang ) | CentralHebei,northwesternShandong |
| Sixian | Sixian ( dây đàn ) | Hebei,Shanxi |
| Sai opera | Saixi ( tái diễn ) | SouthernHebei,northernShanxi |
| Siguxian | Siguxian ( bốn cổ huyền ) | SouthernHebei |
| Xi điểu | Xi điểu ( tây điều ) | Handan(southernHebei) |
| Ping điểu | Ping điểu ( bình điều ) | Wu'an(southernHebei) |
| Xilu Bangzi | Xilu Bangzi ( tây lộ cái mõ ) | Hai xing County(southeasternHebei) |
| Shanxi opera | Jinju ( tấn kịch ) | Shanxi,westernHebei,centralInner Mongolia,northernShaanxi |
| Yangge opera | Yanggexi ( ương ca diễn ) | Shanxi,Hebei,Shaanxi |
| Daoqing opera | Daoqingxi ( đạo tình diễn ) | |
| Errentai | Errentai ( hai người đài ) | NorthernShaanxi,northwesternShanxi,northwesternHebei,centralInner Mongolia |
| Xianqiang | Xianqiang ( tuyến khang ) | SouthernmostShanxi,westernmostHenan,easternShaanxi |
| Pu opera | Puju ( Bồ kịch ) or Puzhou Bangzi ( Bồ Châu cái mõ ) | Shanxi |
| Northwest China | ||
| Qinqiang | Qinqiang ( Tần xoang ) | Shaanxi,Gansu,Ningxia,Xin gian g |
| Tiao opera | Tiaoxi ( nhảy diễn ) | Heyang County(centralShaanxi) |
| Guangguang opera | Guangguangxi ( quáng quáng diễn ) | Hanzhong(southwesternShaanxi) |
| Xiaoqu opera | Xiaoquxi ( tiểu khúc diễn ) | Gansu |
| Quzi opera | Quzixi ( khúc diễn ) | NorthernGansu,Xin gian g |
| Gaoshan opera | Gaoshanxi ( núi cao diễn ) | Longnan(southernGansu) |
| HenanandShandong | ||
| Henan opera | Yuju ( dự kịch ) | Henan,southernHebei,Taiwan |
| Qu opera | Quju ( khúc kịch ) | Henan |
| Yue điểu | Yue điểu ( càng điều ) | Henan,northernHubei |
| Wuyin opera | Wuyinxi ( ngũ âm diễn ) | CentralShandong |
| Lü opera | Lüju ( tuồng Sơn Đông ) | SouthwesternShandong |
| Maoqiang | Maoqiang ( mậu khang ) | Jiaozhou Bay(easternShandong) |
| AnhuiandJiangsu | ||
| Huangmei opera | Huangmeixi ( kịch hoàng mai ) | Anhui, easternHubei,Taiwan |
| Sizhou opera | Sizhouxi ( kịch Tứ Châu ) | Northeastern Anhui, northwestern Jiangsu |
| Lu opera | Luju ( lư kịch ) | Central Anhui |
| Hui opera | Huiju ( Huy Kịch ) | Southern Anhui, northeasternJiangxi |
| Huaihai opera | Huaihaixi ( Hoài Hải diễn ) | Northern Jiangsu |
| Yangzhou opera | Yangju ( dương kịch ) | Yangzhou(central Jiangsu) |
| Huai opera | Huaiju ( Hoài kịch ) | Central Jiangsu |
| Wuxi opera | Xiju ( tích kịch ) | WuxiandChangzhou(southern Jiangsu) |
| Suzhou opera | Suju ( kịch Giang Tô ) | Suzhou(southern Jiangsu) |
| Tongzi opera | Tongzixi ( đồng tử diễn ) | Nantong(southeastern Jiangsu) |
| Zhe gian gand Shanghai | ||
| Yue opera | Yueju ( kịch Chiết Giang ) | Zhe gian g, Shanghai, southernJiangsu,northernFu gian |
| Shanghai opera | Huju ( Hỗ kịch ) | Shanghai |
| Huzhou opera | Huju ( hồ kịch ) | Huzhou(northern Zhe gian g) |
| Shao opera | Shaoju ( kịch Thiệu Hưng ) | Shao xing(northern Zhe gian g) |
| Yao opera | Yaoju ( Diêu kịch ) | Yuyao(northern Zhe gian g) |
| Ningbo opera | Yongju ( dũng kịch ) | Ningbo(northern Zhe gian g) |
| Wu opera | Wuju ( vụ kịch ) | Western Zhe gian g |
| Xinggan opera | Xingganxi ( tỉnh cảm diễn ) | Yongkang(central Zhe gian g) |
| Ou opera | Ouju ( âu kịch ) | Wenzhou(southern Zhe gian g) |
| Fu gianand Taiwan | ||
| Min opera | Minju ( Mân kịch ) | Fu gian, Taiwan (particularlyMatsu Islands), Southeast Asia |
| Beilu opera | Beiluxi ( bắc lộ diễn ) | Shouning County(northeastern Fu gian ) |
| Ping gian g opera | Ping gian gxi ( bình giảng diễn ) | Ningde(northeastern Fu gian ) |
| Sanjiao opera | Sanjiaoxi ( tam giác diễn ) | Northern Fu gian, westernZhe gian g,northeasternJiangxi |
| Meilin opera | Meilinxi ( mai lâm diễn ) | Northwestern Fu gian |
| Puxian opera | Puxianxi ( kịch Phủ Tiên ) | Putian(coastal central Fu gian ) |
| Liyuan opera | Liyuanxi ( tuồng Lê viên ) | Quanzhou(southern Fu gian ), Taiwan, Southeast Asia |
| Gaojia opera | Gaojiaxi ( cao giáp kịch ) | Quanzhou(southern Fu gian ), Taiwan, Southeast Asia |
| Dacheng opera | Dachengxi ( đánh thành diễn ) | Quanzhou(southern Fu gian ) |
| Taiwanese opera | Gezaixi ( ca tử hí ) | Taiwan, southern Fu gian, Southeast Asia |
| Hubei,Hunan, andJiangxi | ||
| Flower-drum opera | Huaguxi ( kịch hoa cổ ) | Hubei, Hunan,Anhui,southeasternHenan |
| Han opera | Hanju ( Hán kịch ) | Hubei, Hunan,Shaanxi,Taiwan |
| Chu opera | Chuju ( Sở kịch ) | Eastern Hubei |
| Jinghe opera | Jinghexi ( kinh hà diễn ) | Southern Hubei, northern Hunan |
| Baling opera | Balingxi ( ba lăng diễn ) | Yueyang(northeastern Hunan) |
| Jiangxi opera | Ganju ( Cán kịch ) | Jiangxi |
| Yaya opera | Yayaxi ( nha nha diễn ) | Yongxiu County(northern Jiangxi) |
| Meng opera | Mengxi ( Mạnh diễn ) | Guangchang County(eastern central Jiangxi) |
| Donghe opera | Donghexi ( đông hà diễn ) | Ganzhou(southern Jiangxi) |
| Tea-picking opera | Caichaxi ( kịch hát hái chè ) | Jiangxi, Hunan,Guangxi,Hubei,Guangdong,Taiwan |
| Southwest China | ||
| Sichuan opera | Chuanju ( Xuyên kịch ) | Sichuan,Chongqing |
| Yang opera | Yangxi ( dương diễn ) | NorthwesternHunan,easternSichuan,Chongqing,Guizhou |
| Deng opera | Dengxi ( đèn diễn ) | NortheasternSichuan,Chongqing, southwesternHubei |
| Huadeng opera | Huadengxi ( kịch hoa đăng ) | Guizhou,Yunnan |
| Guizhou opera | Qianju ( Kiềm kịch ) | Guizhou |
| Yunnan opera | Dianju ( điền kịch ) | Yunnan |
| Guansuo opera | Guansuoxi ( quan tác diễn ) | Cheng gian g County(centralYunnan) |
| South China | ||
| Cantonese opera | Yueju ( kịch Quảng Đông ) | Guangdong,Hong Kong,Macau,southernGuangxi,North America, Southeast Asia |
| Teochew opera | Chaoju ( Triều kịch ) | EasternGuangdong,southernmostFu gian,Hong Kong, Southeast Asia |
| Zhengzi opera | Zhengzixi ( chính tự diễn ) | Lufeng(easternGuangdong) |
| Hakka opera | Hanju ( Hán kịch ) | EasternGuangdong |
| Leizhou opera | Leiju ( lôi kịch ) | Leizhou Peninsula(southwesternGuangdong) |
| Hainan opera | Qiongju ( Quỳnh kịch ) | Hainan,Singapore |
| Zhai opera | Zhaixi ( trai diễn ) | Haikou(northernHainan) |
| Cai điểu | Cai điểu ( màu điều ) | Guangxi |
| Guangxi opera | Guiju ( quế kịch ) | NorthernGuangxi |
| Nanning opera | Yongju ( Ung kịch ) | Nanning(southernGuangxi) |
Gallery
[edit]-
Fire spitting fromSichuan opera -
A female opera performer -
The mask of Chinese opera. -
A man is painting Chinese opera makeup. -
Traditional Chinese Theater -
-
Classic Chinese opera look -
Wing Luke Museum – Ping Chow's Chinese opera garment -
Chinese opera costumes – Hong Kong Museum of History -
APeking Operaactor -
TwoBeijing Operaactresses -
Chinese drama In last century. -
Romance of the Western Chamber Shao xing opera -
Nuo OperaMask -
Battle of Changban Peking Opera -
Havoc in Heaven Peking Opera -
Kunqu Mudanting Scene -
Kunqu
In popular culture
[edit]An update in January 2022 for the gameGenshin Impactincludes a story quest that features a musical number from the characterYun Jinthat is in the style of Chinese operaThe Divine Damsel of Devastation,which went viral as it was the first time many people around the world have heard Chinese opera. Even Yang Yang, the Chinese voice ofYun Jin,was surprised about it.
See also
[edit]- Chinese theatre
- Chinese culture
- Chinese art
- C-pop
- Chinese drama (disambiguation)
- Music of China
- Pear Garden
- Qu (poetry)
- Yuan poetry
- Zaju
- Revolutionary opera
- Chinese contemporary classical opera
Notes
[edit]- ^Fan, Xing (2018). "Visual Communication through Design".Staging Revolution: Artistry and Aesthetics in Model Beijing Opera during the Cultural Revolution.Hong Kong University Press. pp. 196–217.doi:10.5790/hongkong/9789888455812.003.0009.ISBN978-988-8455-81-2.JSTORj.ctt22p7jf7.14.
- ^Pang, Cecilia J. (2005). "(Re)cycling Culture: Chinese Opera in the United States".Comparative Drama.39(3/4): 361–396.doi:10.1353/cdr.2005.0015.JSTOR41154288.
- ^Wichmann, Elizabeth (1990). "Tradition and Innovation in Contemporary Beijing Opera Performance".TDR.34(1): 146–178.doi:10.2307/1146013.JSTOR1146013.
- ^Wang Kefen (1985).The History of Chinese Dance.China Books & Periodicals. p. 78.ISBN978-0-8351-1186-7.
- ^Mackerras, Colin (Spring 1994). "Peking Opera before the Twentieth Century".Comparative Drama.28(1): 19–42.doi:10.1353/cdr.1994.0001.JSTOR41153679.S2CID190271409.
- ^Siu, Wang-Ngai; Lovrick, Peter (1997).Chinese Opera: Images and Stories.UBC Press.ISBN0-7748-0592-7.
- ^Ma, Haili (2012)."Yueju – The Formation of a Legitimate Culture in Contemporary Shanghai".Culture Unbound: Journal of Current Cultural Research.4:213–227.doi:10.3384/cu.2000.1525.124213.
- ^Iovene, Paola (2010). "Chinese Operas on Stage and Screen: A Short Introduction".The Opera Quarterly.26(2–3): 181–199.doi:10.1093/oq/kbq028.S2CID191471378.
- ^"Đem ưu tú hí khúc nạp vào" quốc gia điển tàng "".Guangming Daily(in Chinese). May 9, 2017.
- ^abTan Ye (2008).Historical Dictionary of Chinese Theater.Scarecrow Press. p. 3.ISBN978-0810855144.
- ^"Thời Đường tòng quân diễn".Trung Quốc văn hóa viện nghiên cứu.
- ^"Sichuan Opera".Archived fromthe originalon February 24, 2007.
- ^"The Tang Dynasty (618–907)".Asian Traditional Theatre and Dance.Archived fromthe originalon August 23, 2014.RetrievedMarch 12,2014.
- ^Laurence Picken, ed. (1985).Music from the Tang Court: Volume 5.Cambridge University Press. pp. 1–12.ISBN978-0521347761.
- ^abcFaye Chunfang Fei, ed. (2002).Chinese Theories of Theater and Performance from Confucius to the Present.University of Michigan Press. pp. 28–29.ISBN978-0472089239.
- ^Tan Ye (2008).Historical Dictionary of Chinese Theater.Scarecrow Press. p. 336.ISBN9781461659211.
- ^"Theatre".China Culture Information Net.Archived fromthe originalon December 25, 2013.
- ^"The Early History of Chinese Theatre".Asian Traditional Theatre and Dance.Archived fromthe originalon October 21, 2017.RetrievedMarch 11,2014.
- ^Jin Fu (2012).Chinese Theatre(3rd ed.). Cambridge University Press. p. 10.ISBN978-0521186667.
- ^Tan Ye (2008).Historical Dictionary of Chinese Theater.Scarecrow Press. p. 223.ISBN978-0810855144.
- ^"Chinese Opera".onlinechinatours.RetrievedJuly 12,2011.
- ^Rossabi, 162.
- ^Faye Chunfang Fei, ed. (2002).Chinese Theories of Theater and Performance from Confucius to the Present.University of Michigan Press. p. 41.ISBN978-0472089239.
- ^Jin Fu (2012).Chinese Theatre(3rd ed.). Cambridge University Press. p. 447.ISBN978-0521186667.
- ^Wang Kefen (1985).The History of Chinese Dance.China Books & Periodicals. p. 78.ISBN978-0-8351-1186-7.
- ^"Đào Am Mộng Ức / cuốn 02 《 chu vân lai nữ diễn 》".
- ^"Xuyên kịch styles".Trung Quốc thể loại hí khúc lộng lẫy CCNT.Archived fromthe originalon April 30, 2001.
- ^abcdefghHsu, Dolores Menstell (1964). "Musical Elements of Chinese Opera".The Musical Quarterly.50(4): 439–451.doi:10.1093/mq/L.4.439.JSTOR740955.
- ^abLiang, David Ming-Yüeh (1980). "The Artistic Symbolism of the Painted Faces in Chinese Opera: An Introduction".The World of Music.22(1): 72–88.JSTOR43560653.
References
[edit]- Rossabi, Morris (1988).Khubilai Khan: His Life and Times.Berkeley: University of California Press.ISBN0-520-05913-1.
Further reading
[edit]
- Shih, Chung-wen (1976).The Golden Age of Chinese Drama: Yüan Tsa-chu.Princeton, NJ: Princeton University Press.ISBN0-691-06270-6.
- Riley, Jo(1997).Chinese Theatre and the Actor in Performance.Cambridge, UK:Cambridge University Press.ISBN0-521-57090-5.
External links
[edit]- "Traveling with the Jinju",aDeutsche Welledocumentary depicting a 21st-century touring Jinju ( tấn kịch ) Shanxi Opera troupe
| History | |||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|
| Types | |||||||||||
| Regions | |||||||||||
| Stagecraft/ Scenography | |||||||||||
| Personnel |
| ||||||||||
| Miscellaneous | |||||||||||
