Relevant bibliographies by topics / Peking opera

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Peking opera'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Peking opera"

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Stringer, Julian. ": Peking Opera Blues . Tsui Hark." Film Quarterly 48, no. 3 (April 1995): 34–42. http://dx.doi.org/10.1525/fq.1995.48.3.04a00050.

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Liu, Moqiao. "The Implication of Traditional Chinese Culture in Peking Opera." BCP Social Sciences & Humanities 14 (December 17, 2021): 179–82. http://dx.doi.org/10.54691/bcpssh.v14i.190.

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Beijing Opera, as a national opera, is also a part of Chinese traditional culture, is an important form of traditional Chinese culture. It not only shows the characteristics of Chinese traditional culture, but also contains fine traditional virtues and spiritual thoughts. In order to spread the Chinese culture like Peking Opera from generation to generation and promote its international spread, this paper aims to explore the characteristics and implications of traditional Chinese culture embodied in Peking Opera.
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Li, Huiyao. "Investigation on the Current Situation and Problems of International Dissemination of Chinese Peking Opera in the New Century." Society for International Cultural Institute 15, no. 2 (December 31, 2022): 235–54. http://dx.doi.org/10.34223/jic.2022.15.2.235.

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Chinese Peking Opera has been promoted and disseminated globally since the beginning of the last century. In this century, with the development of China's economy and the increase of official investment, Peking Opera has reached an unprecedented level in overseas dissemination. There has been great development in the subject of dissemination, the number of frequency of dissemination, the scope and form of dissemination. However, compared with the huge investment, Peking Opera still cannot become an international drama category. It mostly appears overseas as a symbol of Chinese culture, and there are also many misunderstandings in communication. For example, the functions of communication goals are ambiguous, the form of communication for tour performances is single, the lack of cross-cultural communication talents, and the incomplete communication system. Therefore, the overseas dissemination of Chinese Peking Opera needs to clarify the dissemination goals and objectives, clarify the main functions of dissemination, improve the content to meet the needs of cross-cultural dissemination, enrich the means of dissemination in form, cultivate and excavate cross-cultural dissemination talents, establish a three-dimensional communication system for exhibition performances, opera education, and folk communication. At the same time, new communication channels such as the Internet should be effectively used, and the communication experience of India, Japan, South Korea and other countries should be used for reference, in order to achieve greater and better effects of Peking Opera overseas communication.
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Zhao, Hang, Youdong Ding, Bing Yu, Chenfeng Jiang, and Wanying Zhang. "Design and implementation of Peking Opera action scoring system based on human skeleton information." MATEC Web of Conferences 232 (2018): 01026. http://dx.doi.org/10.1051/matecconf/201823201026.

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At present, most of the preservation records of Peking Opera remain in the ways of video and text, and the digitalization degree is far lower than the development level of science and technology. The immaterial cultural heritage cannot be fully displayed and Peking Opera’s value is weakened. Therefore, adopting advanced motion capture technology is of great significance to the protection and inheritance of Peking Opera. We use optical motion capture equipment to record the movement information of Peking Opera actors, then keep the human skeleton information in a specific file format. After that, the hierarchical human action skeleton model was analysed, and the final score was obtained by comparing the change sequence of information of reference action and training action skeleton with the improved DTW algorithm. We have realized the graphical interface of the system, and the trainer can easily select the action segments to train or select a specific body part for specific action training. This paper introduces the overall design framework of our Peking Opera action scoring system, including the collection of action information, the implementation of scoring algorithm and the design of software interface.
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He, Rong, and Linxin Liang. "The Peking Opera or the Beijing Opera? An International Usage Frequency Analysis Based on the Corpus of Global Web-based English (GLoWbE)." IRA International Journal of Education and Multidisciplinary Studies 17, no. 2 (July 9, 2021): 108. http://dx.doi.org/10.21013/jems.v17.n2.p10.

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The regional differences in the frequency of synonym use reflect the social cognition of various speech groups. Both Peking opera and Beijing opera refer to an identical Chinese cultural entity, but they differ considerably in international usage frequency in the GLoWbE where disparity can be manifested among 20 English-speaking communities. Beijing opera enjoys a slightly higher frequency than Peking opera in total, and several Asian and African countries even have no relevant data concerning this art. Besides, we explore some potential reasons for interpreting these phenomena.
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Wang, Kai-Ting, and Jee-Sung Song. "Research on the Application of Peking Opera Mask Design according to Morphological Analysis and AHP: Focused on the Journey to the West." korea soc pub des 6 (September 30, 2022): 66–74. http://dx.doi.org/10.54545/kspd.2022.6.66.

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In traditional Chinese culture Peking Opera, Peking Opera masks are relatively intuitive artistic symbols and contain unique national characteristics. The purpose of the research is that in the process of the transformation of Chinese traditional cultural products from “tradition” to the combination of culture and creativity, in the process of conveying traditional cultural symbols to the public, in addition to the expression of “inspiration”, it is also necessary to combine qualitative and quantitative design methods. The research method takes the traditional Peking Opera mask culture of Journey to the West Monkey King as the research object, combines the artistic form and inheritance value of traditional culture, and decomposes and reconstructs the meaning and form of Peking Opera elements from the perspective of morphological analysis, and then analyzes the hierarchy of methods. From the point of view, of the basis of qualitative and quantitative, and on the premise of mastering the characteristics of the prototype, the reconstruction of the new scheme is carried out to create a new traditional image. The conclusion found that with the development of the social economy, the innovative design of traditional culture has become a new trend in Chinese traditional culture. Focusing on the practical research on the design of Peking Opera masks in Journey to the West, the feasibility and effectiveness of morphological analysis and analytic hierarchy process in the application of traditional culture have been verified, and a systematic and scientific method has been provided for the design of cultural creativity.
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孫완怡. "Characteristics of the Peking Opera Maqianposhui." Journal of Chinese Language and Literature ll, no. 34 (September 2007): 519–31. http://dx.doi.org/10.26586/chls.2007..34.022.

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Li, Weimin. "Shakespeare on the Peking Opera Stage." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 29–37. http://dx.doi.org/10.2478/mstap-2013-0003.

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Mackerras, Colin. "Peking Opera before the Twentieth Century." Comparative Drama 28, no. 1 (1994): 19–42. http://dx.doi.org/10.1353/cdr.1994.0001.

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Liu, Yao-Kun. "Brecht's Epic Theatre and Peking Opera." Journal of the Australasian Universities Language and Literature Association 2011, no. 116 (November 2011): 65–81. http://dx.doi.org/10.1179/000127911804775305.

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Dissertations / Theses on the topic "Peking opera"

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Goldstein, Joshua L. "Theatrical imagi-nations : Peking opera and China's cultural crisis, 1890-1937 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9961764.

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Riley, Josephine. "The articulate figure : a study of presence in the Chinese theatre." Thesis, University of East Anglia, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261171.

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Li, Yiman. "STUDY OF SYMBOLIC EXPRESSIONS IN PEKING OPERA'SCOSTUMES AND LYRICS." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3597.

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This thesis represents an analysis of symbolic expressions used to convey traditional Chinese cultural values in marital relations as expressed through costumes and lyrics in Peking Opera plays and performances. Two symbols, dragon and phoenix, were selected from the costume collection. Four symbols--bird, tiger, wild goose, and dragon--were selected from compilations of lyrics. These symbols were selected because they expressed Chinese core cultural values, an imperial ideology based on Confucian thoughts, which were practiced rigidly during Qing Dynasty (1644-1911). Modeling Theory is applied to argue that dragon and phoenix as visual symbols convey ideas about characters' background, marital relationship, social status shifts, and socio-culturally desirable values. Social Drama Theory is employed to analyze the lyrics to understand how ideal images of husband and wife are constructed. The archetypes of Chinese traditional culture that have influenced Chinese thought and action for centuries are discovered and discussed.
M.A.
Nicholson School of Communication
Sciences
Communication MA
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Ying, Lan [Verfasser], Stefan [Akademischer Betreuer] Kramer, and Peter W. [Akademischer Betreuer] Marx. "Introduction to drum rhythm on Peking Opera stage / Lan Ying. Gutachter: Stefan Kramer ; Peter W. Marx." Köln : Universitäts- und Stadtbibliothek Köln, 2014. http://d-nb.info/1065374453/34.

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Zhang, Lei. "A Cultural Revolution Revisited: Computer Animation and Beijing Opera." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/367875.

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This research project focuses on the potential relationship between Beijing Opera (the traditional cultural heritage) and computer animation (a modern art form). It responds to the practical problem that Beijing Opera is a national treasure of China with a history of 200 years, but now it is in decline as popular entertainment. Beijing Opera (or Peking Opera) is widely regarded as the highest expression of Chinese culture, being one of the three main theatrical systems in the world. Attempts to keep this traditional cultural treasure alive have varied, including encouraging positive appreciation among young audiences and updating Beijing Opera's artistic style and performance. To further that ambition, this research explores how Beijing Opera's traditional stage performance can be adapted to a virtual stage by computer generated imagery (CGI), also known as computer animation. CGI animation has eclipsed other animation forms and has emerged as one of the most successful film-art forms (Polchat 2007). The resounding success of Toy Story, the first fully computer-generated feature film produced by Pixar (The Walt Disney Company) in 1995 and the following continuous release of breathtaking CGI films by numerous studios in the past decade, informs this project of the potential offered by CGI animation. This research report argues for the possibility of using computer animation to present Beijing Opera.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Wang, Ding. "The systematic analysis and innovative design of the essential cultural elements with Peking Opera Painted Faces (POPF)." Thesis, Brunel University, 2016. http://bura.brunel.ac.uk/handle/2438/14785.

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Peking Opera (‘Jingju’) is one of the most iconic traditional theatres in China, marketed as a global signifier of Chinese theatre and national identity. The research considers current recognised illustrations of Peking Opera Painted Faces (POPF). Through both new cultural-based product design solutions and design inspired visual communication solutions, the purpose of the new design is to apply the semantic features of Chinese Traditional POPF to the modern design, and establish close contact with all aspects of social life. Also to promote a series of developable plans including product design, interaction design, system design and service design in China and Western countries proceeding from POPF, along with the integration of other elements of traditional Chinese cultures and arts. *POPF is short for Peking Opera Painted Faces.
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Streng, Isabelle Huang. "A Study of the Relationship Between Traditional Peking Opera and Contemporary Western Percussion Music in Mu Kuei-Yin in Percussion by Chien-Hui Hung." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1353086339.

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Wang, Wan-Ju. "Regards croisés sur l'espace théâtral à travers l'opéra de Pékin contemporain de Taïwan : le Roi Lear et Orlando." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100014.

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Cette étude se propose d’examiner les questions que soulève l'opéra de Pékin contemporain de Taïwan à travers deux exemples : Le Roi Lear mis en scène par Wu Hsing-Kuo et Orlando mis en scène par Robert Wilson. Ces deux spectacles en solo sont fondés sur des textes occidentaux traduits en chinois. Pour mettre en scène ces textes traduits, Wu Hsing-Kuo et Robert Wilson ont eu recours aux conventions et au jeu de l’acteur de l’opéra de Pékin. En dépit d’éléments similaires, les textes scéniques tissés par ces deux metteurs en scène diffèrent profondément. Dans le but de trouver une manière appropriée de décrire et d’analyser ce genre de spectacles métis qui sortent de leur cadre traditionnel, tout en gardant en même temps certains traits spécifiques, nous avons commencé par creuser les conceptions qui sous-tendent la forme de l’opéra chinois. Ensuite, nous avons approfondi les questions liées à la pratique ainsi que ses rapports avec les conceptions esthétiques chinoises. Dans la dernière partie de cette étude, nous nous appuyons essentiellement sur les conceptions développées dans les deux premières parties de cette thèse plutôt que sur les discussions sur la nature du théâtre interculturel pour les chercheurs occidentaux auxquelles se sont déjà référés beaucoup de chercheurs taïwanais. À travers l’analyse des deux spectacles, nous proposons une voie différente pour discuter des représentations « interculturelles », tels que les spectacles de l’opéra de Pékin contemporain de Taïwan, qui échappent aux règles et aux conventions bien établies et qui ne peuvent être jugés selon les standards habituels
This thesis aims to examine the questions suggested by two contemporary Peking opera productions in Taiwan: “King Lear” directed by Wu Hsing-Kuo and “Orlando” by Robert Wilson. These two adaptations are both based on Western masterpieces and each of them is performed by one trained Peking opera actor. Despite the similarities that appear in the works of the Taiwanese and the American director, the results of their experimentations on the stage differ considerably between each other. In order to find appropriate way to describe and analyze this kind of performances based on the fusion of traditional as well as foreign elements, we started by researching the conceptions which associate deeply with the form of Chinese opera. Then, we delved further into the relations between the practice of Chinese opera and the Chinese aesthetics concepts. Finally, we analyzed the two examples, not through the discussions related to “intercultural theater” developed by occidental researchers and commonly referred to Taiwanese researchers, but through the conceptions that we have developed in the last two chapters of this thesis. Through this study, we expect to propose a different way to approach the theatrical productions that broke the routine and cannot be analyzed by the standard rules
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Li, Yiman. "Study of symbolic expressions in Peking Opera's costumes and lyrics." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002149.

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Wan, Mengying. "“INSTANTS D’UN OPERA DE PEKIN” FOR SOLO PIANO BY QIGANG CHEN." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/132.

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My monograph focuses on the Instants d’un Opera de Pekin by the contemporary Chinese composer Qigang Chen in particular how he incorporates Chinese musical elements with Western compositional techniques. The main focus of this study is an analysis with emphasis on performance issues. A brief introduction to Chinese music elements is provided to establish a context. This document provides brief information about Chinese scale modes and instruments.
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Books on the topic "Peking opera"

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Mackerras, Colin. Peking opera. Hong Kong: Oxford University Press, 1997.

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Meyer, Ione. Peking opera codes. London: Compendium Pub., 2009.

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Tseng, Yung-Li. Peking Opera stages Macbeth. Taipei, Taiwan, China: W.Y. Tsao, 1987.

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Jing ju: Peking opera. Hefei Shi: Huang Shan shu she, 2011.

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Shuo xi: Review Peking opera. Shanghai Shi: Shanghai jin xiu wen zhang chu ban she, 2008.

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Pʻan, Hsia-feng. The stagecraft of Peking opera. Beijing: New World Press, 1995.

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Mei Lanfang and Peking opera. Beijing, China: Foreign Language Press, 2009.

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Menglin, Zhao. Peking Opera painted faces: With notes on 200 operas. Beijing: Morning Glory Publishers, 1992.

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Jiqing, Yan, ed. Peking Opera painted faces: With notes on 200 operas. 3rd ed. Beijing: Morning Glory Publishers, 1996.

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1957-, Gissenwehrer Michael. Peking Oper: Theaterzeit in China. Schaffhausen: Edition Stemmle, 1987.

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Book chapters on the topic "Peking opera"

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Ma, Huijuan. "Hsiung’s Cultural Translation of the Peking Opera Wang Baochuan." In Transcultural Encounters in Knowledge Production and Consumption, 81–95. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4920-0_5.

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Huang, Qin, and Yajun Wang. "A study on the translation of Peking Opera terminology." In Terminology Translation in Chinese Contexts, 98–119. Abingdon, Oxon ; New York, NY : Routledge, 2021. | Series: Routledge studies in Chinese translation: Routledge, 2021. http://dx.doi.org/10.4324/9781003006688-9.

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Jiafang, Dai, and Lau Sze Wing. "A Diachronic Study of Jingju Yangbanxt Model Peking Opera Music." In Listening to China’s Cultural Revolution, 11–35. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137463579_2.

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Yang, Guancan, Shuang Gao, Zeyu Feng, Lingling Wang, and Yidan Xu. "Semantics Expression of Peking Opera Painted Faces Based on Color Metrics." In Diversity, Divergence, Dialogue, 490–501. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71292-1_38.

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Cai, FeiLong, and JinHui Yu. "A Real-Time Interactive System for Facial Makeup of Peking Opera." In Transactions on Edutainment IV, 256–65. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-14484-4_21.

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Zhang, Yuan, and Yongyi Wen. "The application of Peking Opera in Chinese culture teaching in foreign countries." In Proceedings of the 2022 5th International Conference on Humanities Education and Social Sciences (ICHESS 2022), 2272–77. Paris: Atlantis Press SARL, 2022. http://dx.doi.org/10.2991/978-2-494069-89-3_261.

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Weinstein, John B. "Taiwan’s Little Theatre Grows Up: Reviving Peking Opera: The Revelation into a Classic." In Staging China, 185–201. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137529442_10.

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"Hands and the Peking Opera." In A Dictionary of Theatre Anthropology, 234–39. Routledge, 2003. http://dx.doi.org/10.4324/9780203079409-8.

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"Peking Opera and the Court." In Ascendant Peace in the Four Seas, 219–58. The Chinese University Press, 2012. http://dx.doi.org/10.2307/j.ctt1p9wr2w.10.

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"The Production of a Mass-Market Collection of Jingju Playscripts: Xikao (Research into Plays)." In Inscribing Jingju/Peking Opera, 293–405. BRILL, 2021. http://dx.doi.org/10.1163/9789004463394_005.

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Conference papers on the topic "Peking opera"

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Zhang, Ziqiang, and Xinwei Wang. "Structure analysis of Chinese Peking Opera." In 2011 Seventh International Conference on Natural Computation (ICNC). IEEE, 2011. http://dx.doi.org/10.1109/icnc.2011.6022090.

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Wu, Yusong, Shengchen Li, Chengzhu Yu, Heng Lu, Chao Weng, Liqiang Zhang, and Dong Yu. "Peking Opera Synthesis via Duration Informed Attention Network." In Interspeech 2020. ISCA: ISCA, 2020. http://dx.doi.org/10.21437/interspeech.2020-1724.

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Zhang, Xinjie, and Jinhui Yu. "Modeling Expressions of Peking Opera Facial Make-Ups." In 2011 12th International Conference on Computer-Aided Design and Computer Graphics (CAD/Graphics). IEEE, 2011. http://dx.doi.org/10.1109/cad/graphics.2011.59.

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Wang, QunYing. "Research on Male Dan in Chinese Peking Opera and Castrato in Italian Opera." In 2015 International Conference on Economics, Social Science, Arts, Education and Management Engineering. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/essaeme-15.2015.15.

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Xin, Xiaoyu, Yinghua Shen, Rui Xiong, Xiahan Lin, Ming Yan, and Wei Jiang. "Automatic Image Generation of Peking Opera Face using StyleGAN2." In 2022 International Conference on Culture-Oriented Science and Technology (CoST). IEEE, 2022. http://dx.doi.org/10.1109/cost57098.2022.00030.

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Wei, Yifeng. "Study on the Protection of Han Opera Master Mi Yingxian's Opera Culture On Its Historical Contribution to the Formation of Peking Opera." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.151.

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Xue, Yifan. "How to Avoid Conceptualization and Formalization of Anti-corruption in Peking Opera." In 2020 International Conference on Advanced Education, Management and Social Science (AEMSS2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200723.143.

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Wang, Shilin, Fengquan Zhang, and Zhiyuan Zhao. "The Interactive Art Design of Peking Opera Face Based on Virtual Reality Technology." In 2020 International Conference on Virtual Reality and Visualization (ICVRV). IEEE, 2020. http://dx.doi.org/10.1109/icvrv51359.2020.00073.

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Ou, Xuewen, Xiaoyu Wu, Yichun Zhang, and Qifan Fu. "Mapping peking opera facial makeup onto a human face image based on facial landmarks." In 2014 7th International Congress on Image and Signal Processing (CISP). IEEE, 2014. http://dx.doi.org/10.1109/cisp.2014.7003868.

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Xu, Dan, Zexian Nie, and Wenquan Zhou. "From Traditional Culture Education, the Application of Peking Opera Facial Elements in Poster Design Teaching." In 2017 7th International Conference on Education and Management (ICEM 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icem-17.2018.174.

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