From both historical and artistic points of view,Qinqiang Opera can be considered a significant genre outside the realms of Peking Opera and Kunqu Opera.The research on Qinqiang Opera has long been a focal point in th...From both historical and artistic points of view,Qinqiang Opera can be considered a significant genre outside the realms of Peking Opera and Kunqu Opera.The research on Qinqiang Opera has long been a focal point in the research on local operas with particular emphasis from a local perspective of the Yisu Art Troupe,a key and hot topic in the studies of Qinqiang Opera.Taking the Yisu Art Troupe as a case study to scrutinize and address the intricacies within the process of modernization of traditional Chinese opera proved to be beneficial.Since the 20th century,studies on the Yisu Art Troupe have evolved from scattered and impressionistic self-narratives into systematic and theoretical academic research.In the new century,scholars,such as Xin Xuefeng,Li Youjun,and Guo Hongjun,have been especially diligent with studies in this field.As Xin Xuefeng is relatively unknown due to his emphasis on traditional opera music,Li Youjun and Guo Hongjun have gradually emerged as important contemporary scholars in the study of the Yisu Art Troupe.Guo and Li not only further theorize the study of the Yisu Art Troupe but also conduct in-depth and meticulous studies on the nature of the Yisu Art Troupe,the establishment of the director-centered mode in Qinqiang Opera,the social function,and the playwriting of the Yisu Art Troupe by examining and reflecting it within the broader context of the modernization of traditional Chinese opera in the 20th century.展开更多
The traditional musical instrument of minorities converges the evolution of ethnic group culture and history,and ethnic musical instruments are a core component of minority culture.The traditional instruments of Guang...The traditional musical instrument of minorities converges the evolution of ethnic group culture and history,and ethnic musical instruments are a core component of minority culture.The traditional instruments of Guangxi minorities are rich and varied,and an all-round cultural inheritance and protection mechanism should be used for ethnic musical instruments,so that the performance form of classical musical instruments of minorities can be more widely understood and mastered.Therefore,in this paper,we discuss the specific practice idea of the inheritance and development of classical musical instruments of Guangxi minorities,and facilitate the innovation of development path of ethnic musical instruments by taking the inheritance form of integrating musical instruments with operas.展开更多
Chinese traditional opera often uses singing, acting, speaking and fighting as unique forms of artistic performance. In modern local operas, wushu, a Chinese martial art closely related to movements of attack and defe...Chinese traditional opera often uses singing, acting, speaking and fighting as unique forms of artistic performance. In modern local operas, wushu, a Chinese martial art closely related to movements of attack and defense as disciplines has been incorporated in theatrical performances to portray different moods of characters through exaggerated movements.展开更多
SEVENTY years ago,in 1922,Shakespeare′s famous dramaThe Merchant of Venice wasadapted for Peking opera and per-formed by the noted Peking operaactor Xia Keshan.This was the firstforeign drama put on the Chinesestage ...SEVENTY years ago,in 1922,Shakespeare′s famous dramaThe Merchant of Venice wasadapted for Peking opera and per-formed by the noted Peking operaactor Xia Keshan.This was the firstforeign drama put on the Chinesestage in local opera formIn the eighteenth and nine-teenth centuries the Yuan DynastyOpera The Orphan of the Zhal展开更多
This work proposes a reflection on the transformations in the representations of television fictional plots that deal with issues of slavery and black culture,to discuss how ethnic-racial issues were dealt with.Thus,i...This work proposes a reflection on the transformations in the representations of television fictional plots that deal with issues of slavery and black culture,to discuss how ethnic-racial issues were dealt with.Thus,it is proposed to examine the discussion of racism in the Brazilian soap opera,having as a historical line the comparison among"Escrava Isaura"(1976/2004),"Lado a Lado"(2012)and"O outro lado do paraíso"(2017).展开更多
Your comments are welcome!Please feel free to contact us with your personal stories or vivid pictures!Address:24 Baiwanzhuang St.,Xicheng Dist.,Beijing,100037 E-mail:chinatodaynews@aliyun.com,I am the director of the ...Your comments are welcome!Please feel free to contact us with your personal stories or vivid pictures!Address:24 Baiwanzhuang St.,Xicheng Dist.,Beijing,100037 E-mail:chinatodaynews@aliyun.com,I am the director of the Singapore Chinese Opera Museum.The museum,nestled in a serene neighborhood distinguished by its Southeast Asian architectural charm,chronicles Chinese opera’s centuries-long journey.展开更多
Traditional Chinese operas are an important part of China’s intangible cultural heritage,including well-known genres such as Peking Opera,Kunqu Opera and Cantonese Opera.Among them,Peking Opera has greatly outperform...Traditional Chinese operas are an important part of China’s intangible cultural heritage,including well-known genres such as Peking Opera,Kunqu Opera and Cantonese Opera.Among them,Peking Opera has greatly outperformed others in terms of recognition abroad.Some foreigners not only travel to China to watch it,but also to pick up some of the opera’s performance techniques.展开更多
Born in the Lhodrag County of the Xizang Autonomous Region,Gawa Dradul enjoyed listening to folktales and operas while herding yaks on the mountains together with his aunt as a boy.
Wish the Chinese Opera Festival in Paris becomes a door that will never be closed,so that the Chinese opera can bloom colorfully on the world stage,helping the people with various ethnic and cultural backgrounds get t...Wish the Chinese Opera Festival in Paris becomes a door that will never be closed,so that the Chinese opera can bloom colorfully on the world stage,helping the people with various ethnic and cultural backgrounds get to know and understand each other in the ocean of art,and jointly witness and protect the diversity and prosperity of the human civilization.展开更多
The Chinese Opera Season 2025 and International Exhibition of Chinese Opera opened in Vienna,the capital of Austria,on the evening of April 5.As the opening performance of the Season,a traditional Wu Opera(a local ope...The Chinese Opera Season 2025 and International Exhibition of Chinese Opera opened in Vienna,the capital of Austria,on the evening of April 5.As the opening performance of the Season,a traditional Wu Opera(a local opera in Zhejiang Province)scene"the Legend of the White Snake"was performed at the Muth Theatre in Vienna,drawing enthusiastic responses.展开更多
A Peking Opera mask shaped like a monkey peered out from Charassri Jiraphas’phone case.In a caféat U-Center in Beijing’s Wudaokou area,she recalled her favorite scene from Shaw Brothers’cinematic adaptation of...A Peking Opera mask shaped like a monkey peered out from Charassri Jiraphas’phone case.In a caféat U-Center in Beijing’s Wudaokou area,she recalled her favorite scene from Shaw Brothers’cinematic adaptation of Journey to the West.“When the Monkey King shrinks into an insect just to enter the belly of Princess Iron Fan,”she recounted,her eyes sparkling with reminiscent wonder,“he punches and kicks until Princess Iron Fan can’t take it anymore,gives in,and lends him her Iron Fan.”Later,the Monkey King uses the magical fan to conjure such strong wind that the Flaming Mountains subside,breaking yet another impasse impeding the four Buddhist scriptureseeking monks.展开更多
Chinese New Year,the grandest and most ceremonial traditional festival of the Chinese nation,has always served as a stage for folk art to make a huge impact.On that day,from Shehuo magnificently illuminated with brill...Chinese New Year,the grandest and most ceremonial traditional festival of the Chinese nation,has always served as a stage for folk art to make a huge impact.On that day,from Shehuo magnificently illuminated with brilliant lights or fireworks in the Central Plains to the Celebration in Farmland-in-spring in Fujian and Taiwan,from the Yangko fizzing with enthusiasm at the snow village in Northeast China to the mysterious and ancient Nuo Opera in Southwest China,from the passionate and vigorous dragon boat tune in the water town in Hubei to the Firecracker Dragon Festival buzzing with excitement in Bagui,Guangxi,the vast land of 9.6 million square kilometers of China is suddenly aroused by the New Year bell,with the playing of a glorious chapter in harmony,achieving in jointly drawing a traditional Chinese New Year in a nonheritage picture scroll.展开更多
NCPA Children’s Opera Commission Effendi&His Double.Date:May 23-June 1,2025,Venue:National Center for the Performing Arts.The opera tells a story about a figure named Effendi waging a battle of wits against his d...NCPA Children’s Opera Commission Effendi&His Double.Date:May 23-June 1,2025,Venue:National Center for the Performing Arts.The opera tells a story about a figure named Effendi waging a battle of wits against his double in Sun City.He maintains justice by punishing the fake Effendi,who cheats the citizens of Sun City.展开更多
This study explores the intricate symbiotic relationship between the Cantonese tonal system and Cantonese opera through an interdisciplinary lens of linguistics and musicology.Cantonese,with its complex tonal architec...This study explores the intricate symbiotic relationship between the Cantonese tonal system and Cantonese opera through an interdisciplinary lens of linguistics and musicology.Cantonese,with its complex tonal architecture and unique phonetic characteristics,serves not only as a communicative medium but as a structural blueprint for the melodic and rhythmic composition of Cantonese opera.Through historical tracing,phonological analysis,and performative interpretation,the paper examines how tonal contours directly shape vocal techniques,emotional expression,and narrative cadence within the opera tradition.The research further investigates how socio-cultural factors—ranging from regional identity,migration,and colonial modernity to contemporary digital transmission—have mediated the evolution and resilience of this art form.By demonstrating how linguistic tone and musical tune co-construct aesthetic experience and cultural memory,the paper offers a new theoretical model for understanding language-music co-evolution in tonal cultures.This inquiry not only affirms Cantonese opera’s role as a living archive of regional identity but also proposes strategies for its revitalization amidst the shifting conditions of modernity and globalization.展开更多
Guangdong Han Opera,known as the“Peony of the South,”is a treasured art form with a history of over 300 years.As one of the three major opera genres in Guangdong,it primarily uses Pi and Huang tuning,incorporating K...Guangdong Han Opera,known as the“Peony of the South,”is a treasured art form with a history of over 300 years.As one of the three major opera genres in Guangdong,it primarily uses Pi and Huang tuning,incorporating Kunqu,Gaoqiang,Chuiqiang,and minor tunes,with Zhongzhou rhyme as its stage language.The roles are divided into seven categories:Sheng,Dan,Chou,Gong,Po,and Jing(including Hongjing and Wujing).Its accompaniment instruments,particularly the Touxian,Dasuluo,and Haotou,are distinctive,making it an excellent Pi and Huang opera genre in southern China.In 2008,Guangdong Han Opera was listed in the national intangible cultural heritage,recognizing its artistic value and entrusting it with the mission of inheriting and developing this opera genre.This paper focuses on the Guangdong Han Opera“Wang Zhaojun”and employs methods such as literature review and case analysis to explore its achievements in secondary creation and artistic innovation.The opera has achieved innovations in script,character,music,and stagecraft,and made breakthroughs in performance form,narrative technique,and cultural connotation,promoting the inheritance and development of Guangdong Han Opera and providing insights into contemporary drama innovation.展开更多
This paper employs the theories and methods of music anthropology to conduct a deep analysis of the newly composed Guangdong Han Opera“Tianfeng Haiyu Meihuadu.”By exploring its musical forms,performance rituals,and ...This paper employs the theories and methods of music anthropology to conduct a deep analysis of the newly composed Guangdong Han Opera“Tianfeng Haiyu Meihuadu.”By exploring its musical forms,performance rituals,and the cultural connotations of the Hakka people,it reveals the unique cultural memory embedded in the musical aspects of the opera.The study finds that“Tianfeng Haiyu Meihuadu”is not only a representative work of the newly composed Guangdong Han Opera but also an important carrier of Hakka cultural inheritance and dissemination.Its music and performance are closely linked to the history,emotions,and social life of the Hakka people,providing a vivid example for understanding the characteristics of Hakka culture and the functions of musical culture.展开更多
Zhuge Liang was an eminent and universally known historical figure whose name is familiar to almost every household.He possessed exceptional talents in many areas and made significant contributions,particularly in pol...Zhuge Liang was an eminent and universally known historical figure whose name is familiar to almost every household.He possessed exceptional talents in many areas and made significant contributions,particularly in politics,military affairs,and diplomacy.In historical records,Zhuge Liang was regarded as a statesman skilled in military administration rather than unconventional stratagems,and more proficient in civil governance than in battlefield command-an internal affairs expert described as“strong in pacifying the state and managing the army,but less given to extraordinary schemes,and better at governing the people than leading troops”.Among the general public,however,his image transformed into an almost deified and omniscient figure,one who could“make impeccable plans and even summon the wind and rain”.This contrast reflects the significant evolution of Zhuge Liang’s image.This dissertation focuses on the image of Zhuge Liang as portrayed in Ming Dynasty Three Kingdoms operas,analyzes the reasons for the transformation of his image,and attempts to offer modest supplementary insights based on previous research.展开更多
基金funded by the National Social Science Fund of China’s project“Research on the Modernization Construction of Chinese Drama Theory in the 20th Century”(Approval Number:19BZW098)。
文摘From both historical and artistic points of view,Qinqiang Opera can be considered a significant genre outside the realms of Peking Opera and Kunqu Opera.The research on Qinqiang Opera has long been a focal point in the research on local operas with particular emphasis from a local perspective of the Yisu Art Troupe,a key and hot topic in the studies of Qinqiang Opera.Taking the Yisu Art Troupe as a case study to scrutinize and address the intricacies within the process of modernization of traditional Chinese opera proved to be beneficial.Since the 20th century,studies on the Yisu Art Troupe have evolved from scattered and impressionistic self-narratives into systematic and theoretical academic research.In the new century,scholars,such as Xin Xuefeng,Li Youjun,and Guo Hongjun,have been especially diligent with studies in this field.As Xin Xuefeng is relatively unknown due to his emphasis on traditional opera music,Li Youjun and Guo Hongjun have gradually emerged as important contemporary scholars in the study of the Yisu Art Troupe.Guo and Li not only further theorize the study of the Yisu Art Troupe but also conduct in-depth and meticulous studies on the nature of the Yisu Art Troupe,the establishment of the director-centered mode in Qinqiang Opera,the social function,and the playwriting of the Yisu Art Troupe by examining and reflecting it within the broader context of the modernization of traditional Chinese opera in the 20th century.
文摘The traditional musical instrument of minorities converges the evolution of ethnic group culture and history,and ethnic musical instruments are a core component of minority culture.The traditional instruments of Guangxi minorities are rich and varied,and an all-round cultural inheritance and protection mechanism should be used for ethnic musical instruments,so that the performance form of classical musical instruments of minorities can be more widely understood and mastered.Therefore,in this paper,we discuss the specific practice idea of the inheritance and development of classical musical instruments of Guangxi minorities,and facilitate the innovation of development path of ethnic musical instruments by taking the inheritance form of integrating musical instruments with operas.
文摘Chinese traditional opera often uses singing, acting, speaking and fighting as unique forms of artistic performance. In modern local operas, wushu, a Chinese martial art closely related to movements of attack and defense as disciplines has been incorporated in theatrical performances to portray different moods of characters through exaggerated movements.
文摘SEVENTY years ago,in 1922,Shakespeare′s famous dramaThe Merchant of Venice wasadapted for Peking opera and per-formed by the noted Peking operaactor Xia Keshan.This was the firstforeign drama put on the Chinesestage in local opera formIn the eighteenth and nine-teenth centuries the Yuan DynastyOpera The Orphan of the Zhal
文摘This work proposes a reflection on the transformations in the representations of television fictional plots that deal with issues of slavery and black culture,to discuss how ethnic-racial issues were dealt with.Thus,it is proposed to examine the discussion of racism in the Brazilian soap opera,having as a historical line the comparison among"Escrava Isaura"(1976/2004),"Lado a Lado"(2012)and"O outro lado do paraíso"(2017).
文摘Your comments are welcome!Please feel free to contact us with your personal stories or vivid pictures!Address:24 Baiwanzhuang St.,Xicheng Dist.,Beijing,100037 E-mail:chinatodaynews@aliyun.com,I am the director of the Singapore Chinese Opera Museum.The museum,nestled in a serene neighborhood distinguished by its Southeast Asian architectural charm,chronicles Chinese opera’s centuries-long journey.
文摘Traditional Chinese operas are an important part of China’s intangible cultural heritage,including well-known genres such as Peking Opera,Kunqu Opera and Cantonese Opera.Among them,Peking Opera has greatly outperformed others in terms of recognition abroad.Some foreigners not only travel to China to watch it,but also to pick up some of the opera’s performance techniques.
文摘Born in the Lhodrag County of the Xizang Autonomous Region,Gawa Dradul enjoyed listening to folktales and operas while herding yaks on the mountains together with his aunt as a boy.
文摘Wish the Chinese Opera Festival in Paris becomes a door that will never be closed,so that the Chinese opera can bloom colorfully on the world stage,helping the people with various ethnic and cultural backgrounds get to know and understand each other in the ocean of art,and jointly witness and protect the diversity and prosperity of the human civilization.
文摘The Chinese Opera Season 2025 and International Exhibition of Chinese Opera opened in Vienna,the capital of Austria,on the evening of April 5.As the opening performance of the Season,a traditional Wu Opera(a local opera in Zhejiang Province)scene"the Legend of the White Snake"was performed at the Muth Theatre in Vienna,drawing enthusiastic responses.
文摘A Peking Opera mask shaped like a monkey peered out from Charassri Jiraphas’phone case.In a caféat U-Center in Beijing’s Wudaokou area,she recalled her favorite scene from Shaw Brothers’cinematic adaptation of Journey to the West.“When the Monkey King shrinks into an insect just to enter the belly of Princess Iron Fan,”she recounted,her eyes sparkling with reminiscent wonder,“he punches and kicks until Princess Iron Fan can’t take it anymore,gives in,and lends him her Iron Fan.”Later,the Monkey King uses the magical fan to conjure such strong wind that the Flaming Mountains subside,breaking yet another impasse impeding the four Buddhist scriptureseeking monks.
文摘Chinese New Year,the grandest and most ceremonial traditional festival of the Chinese nation,has always served as a stage for folk art to make a huge impact.On that day,from Shehuo magnificently illuminated with brilliant lights or fireworks in the Central Plains to the Celebration in Farmland-in-spring in Fujian and Taiwan,from the Yangko fizzing with enthusiasm at the snow village in Northeast China to the mysterious and ancient Nuo Opera in Southwest China,from the passionate and vigorous dragon boat tune in the water town in Hubei to the Firecracker Dragon Festival buzzing with excitement in Bagui,Guangxi,the vast land of 9.6 million square kilometers of China is suddenly aroused by the New Year bell,with the playing of a glorious chapter in harmony,achieving in jointly drawing a traditional Chinese New Year in a nonheritage picture scroll.
文摘NCPA Children’s Opera Commission Effendi&His Double.Date:May 23-June 1,2025,Venue:National Center for the Performing Arts.The opera tells a story about a figure named Effendi waging a battle of wits against his double in Sun City.He maintains justice by punishing the fake Effendi,who cheats the citizens of Sun City.
文摘This study explores the intricate symbiotic relationship between the Cantonese tonal system and Cantonese opera through an interdisciplinary lens of linguistics and musicology.Cantonese,with its complex tonal architecture and unique phonetic characteristics,serves not only as a communicative medium but as a structural blueprint for the melodic and rhythmic composition of Cantonese opera.Through historical tracing,phonological analysis,and performative interpretation,the paper examines how tonal contours directly shape vocal techniques,emotional expression,and narrative cadence within the opera tradition.The research further investigates how socio-cultural factors—ranging from regional identity,migration,and colonial modernity to contemporary digital transmission—have mediated the evolution and resilience of this art form.By demonstrating how linguistic tone and musical tune co-construct aesthetic experience and cultural memory,the paper offers a new theoretical model for understanding language-music co-evolution in tonal cultures.This inquiry not only affirms Cantonese opera’s role as a living archive of regional identity but also proposes strategies for its revitalization amidst the shifting conditions of modernity and globalization.
基金This work was supported by the sub-topic“Research on Language Folklore Art”of the 2022 China National Social Science Fund Art Major Project“Theoretical and Practical Research on Chinese Art Folklore”(Moderator:Professor Bo Dong)’s phased research results(Grant No.22ZD06).
文摘Guangdong Han Opera,known as the“Peony of the South,”is a treasured art form with a history of over 300 years.As one of the three major opera genres in Guangdong,it primarily uses Pi and Huang tuning,incorporating Kunqu,Gaoqiang,Chuiqiang,and minor tunes,with Zhongzhou rhyme as its stage language.The roles are divided into seven categories:Sheng,Dan,Chou,Gong,Po,and Jing(including Hongjing and Wujing).Its accompaniment instruments,particularly the Touxian,Dasuluo,and Haotou,are distinctive,making it an excellent Pi and Huang opera genre in southern China.In 2008,Guangdong Han Opera was listed in the national intangible cultural heritage,recognizing its artistic value and entrusting it with the mission of inheriting and developing this opera genre.This paper focuses on the Guangdong Han Opera“Wang Zhaojun”and employs methods such as literature review and case analysis to explore its achievements in secondary creation and artistic innovation.The opera has achieved innovations in script,character,music,and stagecraft,and made breakthroughs in performance form,narrative technique,and cultural connotation,promoting the inheritance and development of Guangdong Han Opera and providing insights into contemporary drama innovation.
基金supported by the sub-topic“Research on Language Folklore Art”of the 2022 China National Social Science Fund Art Major Project“Theoretical and Practical Research on Chinese Art Folklore”(Moderator:Professor Bo Dong)’s phased research results(Grant No.22ZD06).
文摘This paper employs the theories and methods of music anthropology to conduct a deep analysis of the newly composed Guangdong Han Opera“Tianfeng Haiyu Meihuadu.”By exploring its musical forms,performance rituals,and the cultural connotations of the Hakka people,it reveals the unique cultural memory embedded in the musical aspects of the opera.The study finds that“Tianfeng Haiyu Meihuadu”is not only a representative work of the newly composed Guangdong Han Opera but also an important carrier of Hakka cultural inheritance and dissemination.Its music and performance are closely linked to the history,emotions,and social life of the Hakka people,providing a vivid example for understanding the characteristics of Hakka culture and the functions of musical culture.
文摘Zhuge Liang was an eminent and universally known historical figure whose name is familiar to almost every household.He possessed exceptional talents in many areas and made significant contributions,particularly in politics,military affairs,and diplomacy.In historical records,Zhuge Liang was regarded as a statesman skilled in military administration rather than unconventional stratagems,and more proficient in civil governance than in battlefield command-an internal affairs expert described as“strong in pacifying the state and managing the army,but less given to extraordinary schemes,and better at governing the people than leading troops”.Among the general public,however,his image transformed into an almost deified and omniscient figure,one who could“make impeccable plans and even summon the wind and rain”.This contrast reflects the significant evolution of Zhuge Liang’s image.This dissertation focuses on the image of Zhuge Liang as portrayed in Ming Dynasty Three Kingdoms operas,analyzes the reasons for the transformation of his image,and attempts to offer modest supplementary insights based on previous research.
