This article investigates two specific dramatic elements--the huntuo 浑脱 and the sumozhe 苏摩遮-at the core of the controversial ＂cold-splashing Sogdian plays＂ （pohan huxi 泼寒胡戏）. The huntuo could be a felt ha...This article investigates two specific dramatic elements--the huntuo 浑脱 and the sumozhe 苏摩遮-at the core of the controversial ＂cold-splashing Sogdian plays＂ （pohan huxi 泼寒胡戏）. The huntuo could be a felt hat, an oilcloth a pelt headdress, or a theatrical striptease. With deep multicultural roots, the sumozhe （samaja） combined masquerade, ambulatory drama, dance, and music into a boisterous spectacle. In addition to examining the high cultural stakes underlying the public performance and imperial support （or prohibition） of these plays in early eighth century Tang China, this essay proposes a link between these hibernal festal dramas and Turkish Kose plays.展开更多
文摘This article investigates two specific dramatic elements--the huntuo 浑脱 and the sumozhe 苏摩遮-at the core of the controversial ＂cold-splashing Sogdian plays＂ （pohan huxi 泼寒胡戏）. The huntuo could be a felt hat, an oilcloth a pelt headdress, or a theatrical striptease. With deep multicultural roots, the sumozhe （samaja） combined masquerade, ambulatory drama, dance, and music into a boisterous spectacle. In addition to examining the high cultural stakes underlying the public performance and imperial support （or prohibition） of these plays in early eighth century Tang China, this essay proposes a link between these hibernal festal dramas and Turkish Kose plays.
