ISBN:
0252029739
Language:
English
Pages:
XV, 230 S.
,
Ill., Kt.
,
23cm
DDC:
306.4840951249
Keywords:
Geschichte 1949-1995
;
Operas, Chinese Political aspects
;
Operas, Chinese History and criticism
;
Peking-Oper
;
Politisierung
;
Taiwan
;
Taiwan
;
Peking-Oper
;
Staatsideologie
;
Nationenbildung
;
Politik
;
Taiwan
;
Peking-Oper
;
Politisierung
;
Geschichte 1949-1995
Description / Table of Contents:
Inhalt: Acknowledgments -- Note on the Politics of Romanization and Terminology -- Map of Taiwan -- Introduction: Positioning Peking Opera on Taiwan -- 1. The Variable Conditions and Meanings of Patronage -- 2. Seeking International Recognition: The Overseas Tours -- 3. Battling Communists, Controlling the Island: Peking Opera in Service of State Ideology -- 4. State Regulation of Repertoire -- 5. The Consequences of Exile, the Challenges of Contact -- 6. The Musical Legacy of Isolation, the Shock of Re-Unification -- 7. Democratization and the Dismantling of "National Opera" -- Appendix A: A Brief Introduction to Peking Opera and Its Music -- Appendix B: Glossary of Chinese Characters -- Notes -- Bibliography -- Index
Note:
Includes bibliographical references (p. [209] - 222) and index
,
Angaben zum Inhalt: Peking Opera and Politics in Taiwan tells the peculiar story of an art caught in a sea of overtly ideological ebbs and fiows. Nancy Guy demonstrates the potential significance of the political environment for an art form's development, ranging from determining the smallest performative details (such as how a melody can or cannot be composed) to whether a tradition ultimately thrives or withers away. When Chiang Kai-Shek's Nationalists retreated to Taiwan in 1949, they brought Peking opera performers with them to strengthen their authority through a symbolically important art. Valuing mainland Chinese culture above Taiwanese culture, the Nationalists generously supported Peking opera to the virtual exclusion of local performing traditions, despite their wider popularity. Later, as Taiwan turned toward democracy, the island's own "indigenous" products became more highly valued and Peking opera found itself on a tenuous footing. Finally, in 1995, all of its opera troupes and schools (formerly supported by the Ministry of Defense) were dismantled. Nancy Guy investigates the mechanisms through which Peking Opera was perpetuated, controlled, and ultimately disempowered, and explores the artistic and political consequences of the state's involvement as its primary patron. Her study provides a unique perspective on the interplay between ideology and power within Taiwan's dynamic society.
URL:
http://www.loc.gov/catdir/toc/ecip052/2004023670.html
URL:
http://www.loc.gov/catdir/toc/ecip052/2004023670.html
URL:
http://www.loc.gov/catdir/toc/ecip052/2004023670.html
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