By Daphne P. Lei

Bringing the examine of chinese language theatre into the 21st-century, Lei discusses ways that conventional paintings can live on and thrive within the age of modernization and globalization. development on her past paintings, this new e-book makes a speciality of quite a few different types of chinese language "opera" in destinations round the Pacific Rim, together with Hong Kong, Taiwan and California.

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Additional info for Alternative Chinese Opera in the Age of Globalization: Performing Zero (Studies in International Performance)

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Similar things were happening in the world of jingju. Because of its limited subject matter and its aging audience, traditional jingju was losing its appeal. Guo Xiaozhuang’s (1951–) Yayin Ensemble (Yayin xiaoji, founded in 1979) was the first successful experiment with new jingju in Taiwan. Guo had a number of successful productions in the 1980s and early 1990s. Her approach was to re-examine jingju through the lens of “modern” concepts derived from Western theatre, in terms of dramaturgy, direction, lighting and set design, script, and even music.

The new millennium saw hopes of reviving the art in “innovative jingju,” an alternative jingju that combines modern/Western theatrical sensibility (staging, directing, marketing, dramaturgy), traditional artistry, and new scripts. The creative energy in Taiwan’s free market economy made up for the dwindling resources available to traditional jingju. This “made in Taiwan” jingju, or “jingju without the Beijing family name” appears Introduction: Performing Zero 21 intelligent, even fashionable, to new and younger audiences of college students and young professionals.

46 The intercultural conflicts in Taiwan’s colonial history – the Dutch-Taiwanese confrontation in Zheng Chenggong, the Japanese-Taiwanese in Liao Tianding – had never been dealt with before in the history of jingju. These familiar stories are legendary, historical and mythological at the same time, but they belonged somehow to a different realm of knowledge and were never considered “Chinese” enough for earlier new jingju plays (such as those featured in competitions). Therefore, new arias had to be written, new songs composed, and new characters created.

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