Purpose:This research project aims to organize the archival information of traditional Korean performing arts in a semantic web environment.Key requirements,which the archival records manager should consider for publi...Purpose:This research project aims to organize the archival information of traditional Korean performing arts in a semantic web environment.Key requirements,which the archival records manager should consider for publishing and distribution of gugak performing archival information in a semantic web environment,are presented in the perspective of linked data.Design/methodology/approach:This study analyzes the metadata provided by the National Gugak Center’s Gugak Archive,the search and browse menus of Gugak Archive’s website and K-PAAN,the performing arts portal site.Findings:The importance of consistency,continuity,and systematicity—crucial qualities in traditional record management practices—is undiminished in a semantic web environment.However,a semantic web environment also requires new tools such as web identifiers(URIs),data models(RDF),and link information(interlinking).Research limitations:The scope of this study does not include practical implementation strategies for the archival records management system and website services.The suggestions also do not discuss issues related to copyright or policy coordination between related organizations.Practical implications:The findings of this study can assist records managers in converting a traditional performing arts information archive into a semantic web environment-based online archival service and system.This can also be useful for collaboration with record managers who are unfamiliar with relational or triple database system.Originality/value:This study analyzed the metadata of the Gugak Archive and its online services to present practical requirements for managing and disseminating gugak performing arts information in a semantic web environment.In the application of the semantic web services’principles and methods to an Gugak Archive,this study can contribute to the improvement of information organization and services in the field of Korean traditional music.展开更多
Performing arts and movies have become commercial products with high profit and great market potential. Previous research works have developed comprehensive models to forecast the demand for movies. However,they did n...Performing arts and movies have become commercial products with high profit and great market potential. Previous research works have developed comprehensive models to forecast the demand for movies. However,they did not pay enough attention to the decision support for performing arts which is a special category unlike movies. For performing arts with high-dimensional categorical attributes and limit samples, determining ticket prices in different levels is still a challenge job faced by the producers and distributors. In terms of these difficulties, factorization machine(FM), which can handle huge sparse categorical attributes, is used in this work first. Adaptive stochastic gradient descent(ASGD) and Markov chain Monte Carlo(MCMC) are both explored to estimate the model parameters of FM. FM with ASGD(FM-ASGD) and FM with MCMC(FM-MCMC) both can achieve a better prediction accuracy, compared with a traditional algorithm. In addition, the multi-output model is proposed to determine the price in multiple price levels simultaneously, which avoids the trouble of the models' repeating training. The results also confirm the prediction accuracy of the multi-output model, compared with those from the general single-output model.展开更多
The objective of this paper is to examine an effective strategy for maintaining and utilizing the traditional arts resources of Japan. The authors explore two pillars of the strategy. One is to improve the quality of ...The objective of this paper is to examine an effective strategy for maintaining and utilizing the traditional arts resources of Japan. The authors explore two pillars of the strategy. One is to improve the quality of Japanese traditional performing arts by securing incomes for artists. The other is to utilize the traditional arts as a medium to expand Japanese cultural influence in foreign countries and to improve Japan's branding as a nation. First, the authors focus on the income security system practiced in traditional Japanese music and describe the discrepancy between short- and long-run optimality. The authors prove that the reputation of this art form affects its popularity and that it is optimal for the Iemoto (the head of the music school) to restrict the number of pupils in onstage performances in order to maintain stage quality. Second, the authors provide evidence that effective methods for a country to expand its cultural influence across the world differ among nations. The authors conduct willingness-to-pay (WTP) experiments and find that while German audiences largely prefer traditional Japanese music, those in the USA are slightly partial to its mixed fusion form. Therefore, the effective ways to expand Japanese cultural influence in foreign countries differ from one country to another.展开更多
QU Runhai,head of the Per-forming Arts Bureau of theCultural Ministry,recentlybriefed the media on national per-forming arts activities for 1996.The annual Spring FestivalNight Gala will be held as usual andwill be te...QU Runhai,head of the Per-forming Arts Bureau of theCultural Ministry,recentlybriefed the media on national per-forming arts activities for 1996.The annual Spring FestivalNight Gala will be held as usual andwill be televised nationwide.The Wenhua Award evaluationwill start in March.Different prov-inces,autonomous regions andmunicipalites will participate andsend their best works to compete展开更多
Beishiwu today has a population of around 1,500.Life here is relative-ly laid back and villagers have the free time to engage in various pas-times.The local Huahui cub has grown as a result,and new props and costumes ...Beishiwu today has a population of around 1,500.Life here is relative-ly laid back and villagers have the free time to engage in various pas-times.The local Huahui cub has grown as a result,and new props and costumes have been purchased for new routines.In the past the people of Beishiwu only had one act in their repertoire,a cart dance.Today,by sending locals to other villages or inviting famous artists to Beishiwu to train the local club,10 percent of Beishiwu residents have mastered es-sential Huahui skills.During the last Lantem Festival some Beishiwu housewives also participated in local acrobatics performances.Dressed in colorful costumes and sporting big grins,they looked much younger as Huahui performers than as house-wives.展开更多
The public's participation rate in performing arts in Hong Kong has historically been low,and the Arts Participation and Consumption Survey in 2018 indicated that the primary reason was 4a lack of interest*and tha...The public's participation rate in performing arts in Hong Kong has historically been low,and the Arts Participation and Consumption Survey in 2018 indicated that the primary reason was 4a lack of interest*and that education in the arts could increase public involvement.The survey data clearly indicate the significance of education as a driver to develop future audiences.There are nine major performing arts organisations funded by the Hong Kong government,and they share the responsibility of shaping the performing arts landscape.This study explored the role of outreach and education within these major performing arts organisations and how they impact audience development.In addition to document analysis and fieldwork,the researcher interviewed five cultural leaders from the nine performing arts organisations.The findings of this study indicate that while the organisations*outreach and education engagement help to achieve various important educational goals,direct impact on ticket sales is not easily quantifiable and may occur in the long run.This study concludes by offering a proposed conceptual framework for outreach and education when they are positioned in non-profit performing arts organisations.The four layers in the proposed conceptual framework involve cognitive,affective,ethical,and behavioural dimensions.It contributes to reframing the conceptualisation of audience development for the performing arts and sheds new light on the future of outreach and education in arts organisations and policymaking in arts and culture,with far-reaching implications for other non-profit cultural organisations in Hong Kong and globally.展开更多
China Record Corp., also known as the CRC, is China's largest and oldest national-level producer of audio/visual products. The sound relationship between the CRC and artists at home and abroad and rich experiences...China Record Corp., also known as the CRC, is China's largest and oldest national-level producer of audio/visual products. The sound relationship between the CRC and artists at home and abroad and rich experiences in the industry allow CRC Huaxia Performing Arts Co. a unique competitive edge in the market.展开更多
Tourism performing art is the product of the integration of culture and tourism.With the arrival of the experience economy era,tourism performing art products will be an important link in the development of tourism,wi...Tourism performing art is the product of the integration of culture and tourism.With the arrival of the experience economy era,tourism performing art products will be an important link in the development of tourism,with strong development potential,which can better meet the needs of tourists’ in-depth experience and promote the long-term development of regional tourism.This paper studied the development of Tai’an tourism performing art products from the perspective of experience.Through the survey of tourists and statistics of data,this paper discussed the development strategy of Tai’an tourism performing art products,aiming to provide reference for the development of Tai’an tourism performing art products.展开更多
"We performed in the Carnegie Hall in New York City. Builders of the hall could not have dreamed that this premier venue for performing arts in the world would play host to us, a group of special performing artis..."We performed in the Carnegie Hall in New York City. Builders of the hall could not have dreamed that this premier venue for performing arts in the world would play host to us, a group of special performing artists from China. The audiences were enthralled, seeing the charms of the artists from the orient for the first time," says Zhang Jigang, art director of the China Disabled Persons’ Performing Art Troupe (CDPPAT), head of the Song and Dance Ensemble of the General Political Department of the Chinese People’s Liberation Army and the only dancer in China to have won the Century Star title.展开更多
National Theatre(U.K.)Jane Eyre Date:August 11,2025 Venue:National Center for the Performing Arts This acclaimed stage adaptation of Jane Eyre is a bold and inventive collaboration between the U.K.’s National Theatre...National Theatre(U.K.)Jane Eyre Date:August 11,2025 Venue:National Center for the Performing Arts This acclaimed stage adaptation of Jane Eyre is a bold and inventive collaboration between the U.K.’s National Theatre and Bristol Old Vic Theatre,directed by one of Britain’s most celebrated female theater directors,Sally Cookson.展开更多
Vienna Boys Choir Date:October 2-3,2025 Venue:National Center for the Performing Arts The Vienna Boys Choir is one of the most famous choirs in the world,as well as one of its oldest:boys have been singing at Vienna’...Vienna Boys Choir Date:October 2-3,2025 Venue:National Center for the Performing Arts The Vienna Boys Choir is one of the most famous choirs in the world,as well as one of its oldest:boys have been singing at Vienna’s Imperial Chapel since around the year 1296.Two hundred years later,on July 7,1498,the Holy Roman Emperor Maximilian I established a Court Chapel in Vienna.Today,the former imperial ensemble has grown into an entire campus.In 2024,the Vienna Boys Choir and the Vienna Girls Choir jointly received the European Culture Award.展开更多
1 The Edinburgh Festival Fringe,a three‑week festival of performing arts that takes place in Edinburgh every August,transforms Edinburgh into a dynamic center of creativity and entertainment.This festival draws a wide...1 The Edinburgh Festival Fringe,a three‑week festival of performing arts that takes place in Edinburgh every August,transforms Edinburgh into a dynamic center of creativity and entertainment.This festival draws a wide range of participants,from new artists aiming to make their mark to seasoned performers returning to take in the citys artistic atmosphere.With its open‑access policy,the Fringe truly offers a platform for everyone,providing unique opportunities for artists and audiences to engage in diverse cultural experiences.展开更多
Born of the America of 1960s, performance art comes along as a celebration of presentation rather than re-presentation, as a display form of art, and an art form that does not admit of duplication. This paper presents...Born of the America of 1960s, performance art comes along as a celebration of presentation rather than re-presentation, as a display form of art, and an art form that does not admit of duplication. This paper presents a reading of the seductive power of performance art as rooted in our theatrical nature. I will address performance art as an emancipated form of the theatrical, where by "theatrical" I mean a specific mode of presentation and a specific mode of perception: the mode of presentation of the self to the social and the mode of perception of the self through the social. Performance art, I will argue, is hardly an anomaly of our time. Rather, its source of disturbance and fascination lies in the natural, though excessive manifestation of our theatrical nature. By its appeal to the shocking, the perilous, or the mundane even, this form of art confirms what Paul Woodruff has addressed as "the necessity of watching and being watched." Performance art shows us the danger of self-presentation, the recognition of the other gaze as the self's greatest need and greatest fear. It needs no words. Mere action is more seductive than speech and does not accept speech in return. Once it has been performed, it is no longer. In Nietzsche's words, it celebrates the fleeting moment's "greatest weight." As Samuel Beckett used to tell his actors, performance artists seem to tell their spectators: "Go on failing. Go on. Only next time, try to fail better."展开更多
Performance art in every region and country depends mainly on rules, customs, and beliefs of that particular society hence; this art enjoys diversity with respect to its forms and contents. In contemporary lran, with ...Performance art in every region and country depends mainly on rules, customs, and beliefs of that particular society hence; this art enjoys diversity with respect to its forms and contents. In contemporary lran, with the emergence of new artistic movements, performance art incorporated more academic and enlighten aspects. New mass media and modern visual medium such as light, sound, moving, and changing images, video displays as well as application of new signs and symbols are some of the special characteristics of the contemporary performance art in Iran. Moreover, the performance art in Iran is not merely related to the contemporary era rather it encompasses a large number of traditional representations that have been prevalent among common people with much meaningful rules. Its popularity among common people is also a conceptual art which conveys a content-based meaning in a more dramatic sense. For centuries, the tradition of performance art in Iran can be observed in the rules of Ta'aziehkhani (quite singing or passion play), Shamayelgardani (icon handling), Ru-howzi (performance on pool platform), Marekegiri (mono drama), Qhashoqhzani (spoon handling) and Aroosakgardani (puppet handling). Aestheticism relying on traditional performing method is also the outcome of taste and elegance of common people. These performances have more folkloric aspects protruding from humane institutions and blended with their vernacular beliefs. In the traditional method of performance art, performers mostly enjoy their own taste and style and use handy means for executing their roles. In contemporary Iran, traditional method along with modern theme has been widespread among people particularly in villages and small townships although these are not called as art. The present study is an attempt to study existing challenges to modern and ancient art traditions as well as aesthetic values attributed to each of them.展开更多
An old stage,especially for traditional opera performances,stands in Jinglou,a town in Zhangshu,administered by Yichun,a city in East China's Jiangxi Province.Tea-picking opera-a performance genre,developed from f...An old stage,especially for traditional opera performances,stands in Jinglou,a town in Zhangshu,administered by Yichun,a city in East China's Jiangxi Province.Tea-picking opera-a performance genre,developed from folk dances and songs,and which depicts people’'s daily lives-is often performed on that stage,in the evening,by a troupe organized by Bai Genbao's family.The Bais including Bai Genbao's parents,wife and eldest daughter,have inherited and helped promote this performance art derived from tea gardens,for three generations.展开更多
基金supported by Basic Science Research Program through the National Research Foundation of Korea(NRF)funded by the Ministry of Education(NRF-2016S1A5A2A03927725)
文摘Purpose:This research project aims to organize the archival information of traditional Korean performing arts in a semantic web environment.Key requirements,which the archival records manager should consider for publishing and distribution of gugak performing archival information in a semantic web environment,are presented in the perspective of linked data.Design/methodology/approach:This study analyzes the metadata provided by the National Gugak Center’s Gugak Archive,the search and browse menus of Gugak Archive’s website and K-PAAN,the performing arts portal site.Findings:The importance of consistency,continuity,and systematicity—crucial qualities in traditional record management practices—is undiminished in a semantic web environment.However,a semantic web environment also requires new tools such as web identifiers(URIs),data models(RDF),and link information(interlinking).Research limitations:The scope of this study does not include practical implementation strategies for the archival records management system and website services.The suggestions also do not discuss issues related to copyright or policy coordination between related organizations.Practical implications:The findings of this study can assist records managers in converting a traditional performing arts information archive into a semantic web environment-based online archival service and system.This can also be useful for collaboration with record managers who are unfamiliar with relational or triple database system.Originality/value:This study analyzed the metadata of the Gugak Archive and its online services to present practical requirements for managing and disseminating gugak performing arts information in a semantic web environment.In the application of the semantic web services’principles and methods to an Gugak Archive,this study can contribute to the improvement of information organization and services in the field of Korean traditional music.
基金the Fund of the Science and Technology Commission of Shanghai Municipality(No.13511506402)
文摘Performing arts and movies have become commercial products with high profit and great market potential. Previous research works have developed comprehensive models to forecast the demand for movies. However,they did not pay enough attention to the decision support for performing arts which is a special category unlike movies. For performing arts with high-dimensional categorical attributes and limit samples, determining ticket prices in different levels is still a challenge job faced by the producers and distributors. In terms of these difficulties, factorization machine(FM), which can handle huge sparse categorical attributes, is used in this work first. Adaptive stochastic gradient descent(ASGD) and Markov chain Monte Carlo(MCMC) are both explored to estimate the model parameters of FM. FM with ASGD(FM-ASGD) and FM with MCMC(FM-MCMC) both can achieve a better prediction accuracy, compared with a traditional algorithm. In addition, the multi-output model is proposed to determine the price in multiple price levels simultaneously, which avoids the trouble of the models' repeating training. The results also confirm the prediction accuracy of the multi-output model, compared with those from the general single-output model.
文摘The objective of this paper is to examine an effective strategy for maintaining and utilizing the traditional arts resources of Japan. The authors explore two pillars of the strategy. One is to improve the quality of Japanese traditional performing arts by securing incomes for artists. The other is to utilize the traditional arts as a medium to expand Japanese cultural influence in foreign countries and to improve Japan's branding as a nation. First, the authors focus on the income security system practiced in traditional Japanese music and describe the discrepancy between short- and long-run optimality. The authors prove that the reputation of this art form affects its popularity and that it is optimal for the Iemoto (the head of the music school) to restrict the number of pupils in onstage performances in order to maintain stage quality. Second, the authors provide evidence that effective methods for a country to expand its cultural influence across the world differ among nations. The authors conduct willingness-to-pay (WTP) experiments and find that while German audiences largely prefer traditional Japanese music, those in the USA are slightly partial to its mixed fusion form. Therefore, the effective ways to expand Japanese cultural influence in foreign countries differ from one country to another.
文摘QU Runhai,head of the Per-forming Arts Bureau of theCultural Ministry,recentlybriefed the media on national per-forming arts activities for 1996.The annual Spring FestivalNight Gala will be held as usual andwill be televised nationwide.The Wenhua Award evaluationwill start in March.Different prov-inces,autonomous regions andmunicipalites will participate andsend their best works to compete
文摘Beishiwu today has a population of around 1,500.Life here is relative-ly laid back and villagers have the free time to engage in various pas-times.The local Huahui cub has grown as a result,and new props and costumes have been purchased for new routines.In the past the people of Beishiwu only had one act in their repertoire,a cart dance.Today,by sending locals to other villages or inviting famous artists to Beishiwu to train the local club,10 percent of Beishiwu residents have mastered es-sential Huahui skills.During the last Lantem Festival some Beishiwu housewives also participated in local acrobatics performances.Dressed in colorful costumes and sporting big grins,they looked much younger as Huahui performers than as house-wives.
基金This study was funded by the Research Direct Grant from the Faculty of Arts,The Chinese University of Hong Kong(Project Reference Number:4051124,CUHK).
文摘The public's participation rate in performing arts in Hong Kong has historically been low,and the Arts Participation and Consumption Survey in 2018 indicated that the primary reason was 4a lack of interest*and that education in the arts could increase public involvement.The survey data clearly indicate the significance of education as a driver to develop future audiences.There are nine major performing arts organisations funded by the Hong Kong government,and they share the responsibility of shaping the performing arts landscape.This study explored the role of outreach and education within these major performing arts organisations and how they impact audience development.In addition to document analysis and fieldwork,the researcher interviewed five cultural leaders from the nine performing arts organisations.The findings of this study indicate that while the organisations*outreach and education engagement help to achieve various important educational goals,direct impact on ticket sales is not easily quantifiable and may occur in the long run.This study concludes by offering a proposed conceptual framework for outreach and education when they are positioned in non-profit performing arts organisations.The four layers in the proposed conceptual framework involve cognitive,affective,ethical,and behavioural dimensions.It contributes to reframing the conceptualisation of audience development for the performing arts and sheds new light on the future of outreach and education in arts organisations and policymaking in arts and culture,with far-reaching implications for other non-profit cultural organisations in Hong Kong and globally.
文摘China Record Corp., also known as the CRC, is China's largest and oldest national-level producer of audio/visual products. The sound relationship between the CRC and artists at home and abroad and rich experiences in the industry allow CRC Huaxia Performing Arts Co. a unique competitive edge in the market.
基金Social Science Project of Tai’an City (22-YB-086)The 14^(th) Batch of Teaching Reform and Research Project of TaiShan University (JG202166)。
文摘Tourism performing art is the product of the integration of culture and tourism.With the arrival of the experience economy era,tourism performing art products will be an important link in the development of tourism,with strong development potential,which can better meet the needs of tourists’ in-depth experience and promote the long-term development of regional tourism.This paper studied the development of Tai’an tourism performing art products from the perspective of experience.Through the survey of tourists and statistics of data,this paper discussed the development strategy of Tai’an tourism performing art products,aiming to provide reference for the development of Tai’an tourism performing art products.
文摘"We performed in the Carnegie Hall in New York City. Builders of the hall could not have dreamed that this premier venue for performing arts in the world would play host to us, a group of special performing artists from China. The audiences were enthralled, seeing the charms of the artists from the orient for the first time," says Zhang Jigang, art director of the China Disabled Persons’ Performing Art Troupe (CDPPAT), head of the Song and Dance Ensemble of the General Political Department of the Chinese People’s Liberation Army and the only dancer in China to have won the Century Star title.
文摘National Theatre(U.K.)Jane Eyre Date:August 11,2025 Venue:National Center for the Performing Arts This acclaimed stage adaptation of Jane Eyre is a bold and inventive collaboration between the U.K.’s National Theatre and Bristol Old Vic Theatre,directed by one of Britain’s most celebrated female theater directors,Sally Cookson.
文摘Vienna Boys Choir Date:October 2-3,2025 Venue:National Center for the Performing Arts The Vienna Boys Choir is one of the most famous choirs in the world,as well as one of its oldest:boys have been singing at Vienna’s Imperial Chapel since around the year 1296.Two hundred years later,on July 7,1498,the Holy Roman Emperor Maximilian I established a Court Chapel in Vienna.Today,the former imperial ensemble has grown into an entire campus.In 2024,the Vienna Boys Choir and the Vienna Girls Choir jointly received the European Culture Award.
文摘1 The Edinburgh Festival Fringe,a three‑week festival of performing arts that takes place in Edinburgh every August,transforms Edinburgh into a dynamic center of creativity and entertainment.This festival draws a wide range of participants,from new artists aiming to make their mark to seasoned performers returning to take in the citys artistic atmosphere.With its open‑access policy,the Fringe truly offers a platform for everyone,providing unique opportunities for artists and audiences to engage in diverse cultural experiences.
文摘Born of the America of 1960s, performance art comes along as a celebration of presentation rather than re-presentation, as a display form of art, and an art form that does not admit of duplication. This paper presents a reading of the seductive power of performance art as rooted in our theatrical nature. I will address performance art as an emancipated form of the theatrical, where by "theatrical" I mean a specific mode of presentation and a specific mode of perception: the mode of presentation of the self to the social and the mode of perception of the self through the social. Performance art, I will argue, is hardly an anomaly of our time. Rather, its source of disturbance and fascination lies in the natural, though excessive manifestation of our theatrical nature. By its appeal to the shocking, the perilous, or the mundane even, this form of art confirms what Paul Woodruff has addressed as "the necessity of watching and being watched." Performance art shows us the danger of self-presentation, the recognition of the other gaze as the self's greatest need and greatest fear. It needs no words. Mere action is more seductive than speech and does not accept speech in return. Once it has been performed, it is no longer. In Nietzsche's words, it celebrates the fleeting moment's "greatest weight." As Samuel Beckett used to tell his actors, performance artists seem to tell their spectators: "Go on failing. Go on. Only next time, try to fail better."
文摘Performance art in every region and country depends mainly on rules, customs, and beliefs of that particular society hence; this art enjoys diversity with respect to its forms and contents. In contemporary lran, with the emergence of new artistic movements, performance art incorporated more academic and enlighten aspects. New mass media and modern visual medium such as light, sound, moving, and changing images, video displays as well as application of new signs and symbols are some of the special characteristics of the contemporary performance art in Iran. Moreover, the performance art in Iran is not merely related to the contemporary era rather it encompasses a large number of traditional representations that have been prevalent among common people with much meaningful rules. Its popularity among common people is also a conceptual art which conveys a content-based meaning in a more dramatic sense. For centuries, the tradition of performance art in Iran can be observed in the rules of Ta'aziehkhani (quite singing or passion play), Shamayelgardani (icon handling), Ru-howzi (performance on pool platform), Marekegiri (mono drama), Qhashoqhzani (spoon handling) and Aroosakgardani (puppet handling). Aestheticism relying on traditional performing method is also the outcome of taste and elegance of common people. These performances have more folkloric aspects protruding from humane institutions and blended with their vernacular beliefs. In the traditional method of performance art, performers mostly enjoy their own taste and style and use handy means for executing their roles. In contemporary Iran, traditional method along with modern theme has been widespread among people particularly in villages and small townships although these are not called as art. The present study is an attempt to study existing challenges to modern and ancient art traditions as well as aesthetic values attributed to each of them.
文摘An old stage,especially for traditional opera performances,stands in Jinglou,a town in Zhangshu,administered by Yichun,a city in East China's Jiangxi Province.Tea-picking opera-a performance genre,developed from folk dances and songs,and which depicts people’'s daily lives-is often performed on that stage,in the evening,by a troupe organized by Bai Genbao's family.The Bais including Bai Genbao's parents,wife and eldest daughter,have inherited and helped promote this performance art derived from tea gardens,for three generations.