Journal articles: 'Peking opera'

1

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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11

У, Лиян. "Comparative analysis of the opera “Turandot” by G. Puccini and the Beijing Opera “Princess Turandot”." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 2(277) (October 6, 2021): 209–14. http://dx.doi.org/10.53598/2410-3489-2021-2-277-209-214.

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Проводится сравнительный анализ оперы Дж. Пуччини «Турандот» и пекинской оперы «Принцесса Турандот», который выстраивается на основе оппозиции Запад-Восток. Целью исследования является изучение специфических особенностей пекинской оперы, осуществляемое в опоре на историко-стилевой и культурологический подходы. В ходе исследования доказывается, что принципиальное несовпадение западного классического образца и пекинской версии истории о китайской принцессе определяется разностью культурных традиций, в опоре на которые формируется менталитет творческой элиты Запада и Востока. Теоретическая новизна обусловлена выявлением культурных отличий, обнаруживаемых в таком синтетическом жанре музыкального искусства, как западная опера и пекинская опера. Практическая значимость состоит в возможности использовать полученные данные в процессе интерпретации и реинтерпретации сказки К. Гоцци не в контексте оперного творчества, но и в рамках мирового художественного наследия, частью которого выступает спектакль «Принцесса Турандот». Поставленный в 1922 году Е. Вахтанговым, он и сегодня остается в репертуаре театра, вызывая восторг у публики. The paper presents a comparative analysis of the operas “Turandot” and “Princess Turandot”, which is built on the basis of the West-East opposition. In one case, we are talking about the creation of G. Puccini, in the other - about the Peking opera. The aim of the research is to study the specific features of the Peking opera, carried out in reliance on the historical, stylistic and culturological approaches. The study proves that the fundamental discrepancy between the Western classical model and the Peking version of the story about the Chinese princess is determined by the difference in cultural traditions, on the basis of which the mentality of the creative elite of the West and the East is formed. The theoretical novelty of the study is due to the identification of cultural differences found in such a synthetic genre of musical art as Western opera and Peking opera. The practical significance of the research lies in the possibility to use the obtained data in the process of interpretation and reinterpretation of C. Gozzi's fairy tale not in the context of operatic creativity, but also within the framework of the world artistic heritage, of which the play “Princess Turandot” is a part. Staged in 1922 by E. Vakhtangov, it remains in the theater's repertoire today, delighting the audience.

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Zhang, Zhiyi, and Xiaobing Jin. "Perceiving Humor in Traditional Chinese Peking Opera." Chinese Semiotic Studies 14, no. 3 (August 28, 2018): 371–91. http://dx.doi.org/10.1515/css-2018-0022.

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Abstract Peking opera epitomizes the traditional Chinese performing arts, and all six factors concerning the story and performance of Peking opera, namely plot, role type, song, speech, acting, and combat, can produce humorous effects among the audience. The present paper is a tentative study on humor and sensing humor in Peking opera. The scale study testified that all six factors were able to produce humorous effects and that they had different degrees of comprehension difficulty and humor for different contributing factors. The degree of comprehension difficulty can assert negative influence upon the degree of humor. Different from the traditionally held nonmonotonic (inverted-U) correlation between the two, a monotonic inverse proportion between the two has been detected. The interview analyses revealed that the humorous effects had something to do with incongruity but that resolution might not necessarily be involved. The scale study and the interview analysis both support this finding.

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13

Guy, Nancy A. "Peking Opera as "National Opera" in Taiwan: What's in a Name?" Asian Theatre Journal 12, no. 1 (1995): 85. http://dx.doi.org/10.2307/1124469.

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14

Stringer, Julian. "Review: Peking Opera Blues by Tsui Hark." Film Quarterly 48, no. 3 (1995): 34–42. http://dx.doi.org/10.2307/1213293.

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15

Pang, Cecilia J. "Peking Opera and Politics in Taiwan (review)." Comparative Drama 41, no. 2 (2007): 252–54. http://dx.doi.org/10.1353/cdr.2007.0022.

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Sundberg, Johan, Lide Gu, Qiang Huang, and Ping Huang. "Acoustical Study of Classical Peking Opera Singing." Journal of Voice 26, no. 2 (March 2012): 137–43. http://dx.doi.org/10.1016/j.jvoice.2011.01.001.

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Sundberg, Johan, Lide Gu, Qiang Huang, and Ping Huang. "Acoustical study of classical Peking opera singing." Journal of the Acoustical Society of America 131, no. 4 (April 2012): 3376. http://dx.doi.org/10.1121/1.4708730.

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18

Mackerras, Colin. "A History of Peking Opera, Volume 2." Australian Journal of Chinese Affairs 26 (July 1991): 224–26. http://dx.doi.org/10.2307/2949894.

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Yu-Hsing Chen, Jasmine. "Performing Chineseness Overseas." Journal of Chinese Overseas 18, no. 1 (March 18, 2022): 90–117. http://dx.doi.org/10.1163/17932548-12341457.

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Abstract This article analyzes how the photographs of overseas Chinese performing Peking opera projected the Chinese nationalism of the Kuomintang (KMT) across Taiwan (the Republic of China, ROC) and the Philippines during the Cold War. The analysis focuses on images in the periodical Drama and Art (1964–1972), examining theater and photography as mediums that worked together to (re)shape a ROC-approved vision of “Chineseness.” In addition to studying the circulation of these photographs, the discussion further looks into those aspects of the performances rendered invisible by the periodical, explicating how the Chineseness of overseas Chinese was produced and performed based on the KMT’s needs. Peking opera performance also functioned as a form of “emotional compensation” for Chinese-Filipino performers to act out fantasies of power while facing anti-Chinese sentiment in the Philippines. This article therefore argues that Peking opera was intricately linked to the conceptual construction of overseas Chineseness and its embodied practice.

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Diamond, Catherine. "Cracks in the Arch of Illusion: Contemporary Experiments in Taiwan's Peking Opera." Theatre Research International 20, no. 3 (1995): 237–54. http://dx.doi.org/10.1017/s0307883300008683.

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Textual and performance innovation in twentieth-century Peking Opera is not new and the experiments by practitioners in Taiwan today demonstrate approaches that both reflect past attempts and contemporary variation. There has been resistance to change in the art form, however, because it was supposed to have reached perfection with Mei Lanfang (1894–1961), who, because of his artistic pre-eminence and international status, was able to introduce several daring innovations that revolutionized the medium without upsetting its parameters. Mei not only experimented by acting in contemporary non-traditional plays, but also within the Peking Opera tradition and was responsible for shifting the limelight away from that of the old man role (laosheng) to that of the young woman (dan), his own role. He and his playwright collaborator, Qi Rushan, wrote new style Peking Opera scripts that made best use of Mei's unique performing talents. Instead of the stylized costume evolved from Ming and Qing, dress, Mei would occasionally use historically accurate costumes from earlier dynasties. He introduced the use of classical dances and encouraged the inclusion of the eihu, the second, lower pitched fiddle into the accompanying orchestra.

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Perng, Ching-Hsi. "At the Crossroads: Peking Opera in Taiwan Today." Asian Theatre Journal 6, no. 2 (1989): 124. http://dx.doi.org/10.2307/1124455.

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Deng, Yu. "The Timbre Relationship between Piano Performance Skills and Piano Combined with Opera Music Elements in the Context of the Internet of Things." Security and Communication Networks 2022 (April 20, 2022): 1–14. http://dx.doi.org/10.1155/2022/4259995.

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The “quintessence of the nation” Peking Opera is a highly comprehensive form of opera, which has a high artistic status in traditional Chinese culture. At present, the combination of the Internet of things and music can be embodied in smart devices, through a computing device that can perceive and exchange data for the purpose of music. In the more than 100 years of development of the piano art in China, many composers have used Peking Opera singing and board styles, or absorbed the essence and connotation of Peking Opera, taking Peking Opera elements as the core material and source of creation and presenting them instrumentally through piano works. For example, in terms of smart musical instruments, the Internet of things and Internet technology are combined to realize the real-time connection between the remote piano and the piano and accurately reproduce all the touch and pedal movements of the player, so that teachers and students in different spaces can listen to the course. Audiences had an immersive course experience. Taking this as an opportunity, we will carry out a series of “remote art education” such as remote master classes and remote concerts, to realize the sharing of educational resources around the world. The piano as the king of musical instruments has been loved by people. During piano performance, touch key techniques and pedaling techniques have a very important influence on the piano’s performance sound effects. Chinese opera is the essence of Chinese national art and one of the treasures of China’s traditional national music. The composers of our country also constantly apply the opera elements to the piano creation and create many kinds of piano works that conform to the traditional Chinese opera style and reflect the characteristics of the piano. Pedal skills are also an important technique in piano performance. The pedaling method is based on thinking about history and showing the player’s intentions. Only using the correct playing skills can make the music more expressive. This study briefly introduces the development of piano in China and the playing skills of the piano, and at the same time, it briefly describes the principle of piano sounding and the sound of piano. Based on the previous studies, the effects of touch key techniques and pedaling techniques on the sound of the piano are discussed. I hope to provide some references for the piano performers. The average similarity between the final music and the original music is 60% and around 70%. This article provides a reference direction for the diversified dissemination and promotion of theatrical art and provides theoretical and technical reference suggestions for the future creation, performance, and teaching of Chinese piano music.

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Zheng, Da. "A Peking Opera, English Play and Hong Kong Film." Film International 17, no. 3 (September 1, 2019): 37–48. http://dx.doi.org/10.1386/fiin.17.3.37_1.

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Zhang, Fachao, Xiaoman Liang, Yaqi Sun, Mugang Lin, Jin Xiang, and Huihuang Zhao. "POFMakeup: A style transfer method for Peking Opera makeup." Computers and Electrical Engineering 104 (December 2022): 108459. http://dx.doi.org/10.1016/j.compeleceng.2022.108459.

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Deukchang, Cho. "Historical Evolution of Reformation Movement of Peking Opera and Other Local Opera of Modern China." Science Innovation 4, no. 2 (2016): 35. http://dx.doi.org/10.11648/j.si.20160402.12.

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ManHoe Cho and 정유선. "CHINA COSTUME ART OF PEKING OPERA: Analytical&its translation." Cross-Cultural Studies 22, no. ll (March 2011): 223–77. http://dx.doi.org/10.21049/ccs.2011.22..223.

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SooKyung Oh. "Peking Opera, becoming National Theatre: Representation of Chinese National Art." Journal of East Aisan Cultures ll, no. 62 (August 2015): 111–34. http://dx.doi.org/10.16959/jeachy..62.201508.111.

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CHEN, Siyi. "Gender Representations in Peking Opera and Popular Music in China." Creativity and Innovation 4, no. 3 (2020): 163–74. http://dx.doi.org/10.47297/wspciwsp2516-252725.20200403.

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Han, Qichao, and Ruifeng Zhang. "Acoustic Analyses of the Singing Vibrato in Traditional Peking Opera." Journal of Voice 31, no. 4 (July 2017): 511.e1–511.e9. http://dx.doi.org/10.1016/j.jvoice.2016.11.016.

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Goldstein, J. "Mei Lanfang and the Nationalization of Peking Opera, 1912-1930." positions: east asia cultures critique 7, no. 2 (September 1, 1999): 377–420. http://dx.doi.org/10.1215/10679847-7-2-377.

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Chan, Pui-Lun. "Act Like Jackie Chan: The Cinematic Legacy of Jingju Training Schools in Hong Kong." TDR/The Drama Review 62, no. 2 (June 2018): 115–29. http://dx.doi.org/10.1162/dram_a_00751.

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The jingju (Peking Opera) training schools that developed in Hong Kong between the 1950s and the 1970s had an unanticipated impact on the martial arts movie industry. Jackie Chan and his cohort at the China Drama Academy made the move from trainees to movie actors, bringing their jingju skills to their film roles.

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Yaqin, Zhu, and Niu Lili. "A brief analysis of the role of music in Peking Opera." Music Report 1, no. 1 (2019): 28–32. http://dx.doi.org/10.35534/mur.0101005c.

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Peng, XU. "Liu Zengfu as One of the Last Connoisseurs ofJingju(Peking Opera)." CHINOPERL 34, no. 1 (July 2015): 78–80. http://dx.doi.org/10.1179/0193777415z.00000000032.

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Wichmann-Walczak, Elizabeth. "“Reform” at the Shanghai Jingju Company and Its Impact on Creative Authority and Repertory." TDR/The Drama Review 44, no. 4 (December 2000): 96–119. http://dx.doi.org/10.1162/10542040051058500.

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Once upon a time, Beijing/Peking “Opera” was a thriving, popular art. But for most of the 20th century—both before and after the victory of Communism in 1949—it was an endangered species. Today, however, the Shanghai Jingju Company is one of the few to successfully increase its audiences, approach eco-nomic independence, and practice bold artistic innovation.

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Rolston, David L. "Performance Review: Two Decades of Selling Peking Opera White Snakes to Foreigners: From Tourist Peking Opera in Beijing (1996) to Zhang Huoding at Lincoln Center (2015)." CHINOPERL 37, no. 1 (January 2, 2018): 57–74. http://dx.doi.org/10.1080/01937774.2018.1524424.

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Shzr Ee Tan. "Chinese Street Opera in Singapore, and: Peking Opera and Politics in Taiwan (review)." Asian Music 41, no. 2 (2010): 206–11. http://dx.doi.org/10.1353/amu.0.0064.

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Yeh, Catherine Vance. "A Public Love Affair or a Nasty Game? The Chinese Tabloid Newspaper and the Rise of the Opera Singer as Star." European Journal of East Asian Studies 2, no. 1 (March 24, 2003): 13–51. http://dx.doi.org/10.1163/15700615-00201003.

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At the end of the nineteenth and beginning of the twentieth century an unlikely new figure emerged on the Chinese national stage to take its place as the new star: the Peking Opera singer and in particular the dan or female impersonator, hitherto a member of the lowest social caste and generally discriminated against by law and social custom. These singers’ newly gained national reputation had everything to do with Shanghai and its media industry, more precisely with the appearance of the tabloids, the xiaobao, in the 1890s. Within a decade, the opera singer had become the selling point of the entertainment newspapers, and very soon newspapers and magazines specialising only in the Peking opera and its stars made their appearance. Propelled by Shanghai’s technologically advanced print entertainment products with their lithograph illustrations and photographs, the image of the star became a national icon and a central figure in the mass media. This paper focuses on three cases in which dan actor(s) were the focus of discussion and at times the object of fierce debate or attacked in the xiaobao. Although different in nature, these events highlighted the changing social position of the actors and of the forms of patronage. The paper analyses the contradictory moral standards applied by the editors and writers of these xiaobao in dealing with the change in the social status of actors; the intersection between traditional private literati patronage of local opera singers and the very public process in which the newspaper made them national stars; and the star actors’ tenuous relationship to the xiaobao with their potential for mass appeal and defamation.

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Wu, Jiede, Yikang Sun, and Rung-Tai Lin. "Less Is More: Audience Cognition of Comic Simplification in the Characters of Peking Opera." Sci 4, no. 1 (January 7, 2022): 2. http://dx.doi.org/10.3390/sci4010002.

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A simplified approach was used to determine if “Less is More” is still a trend in comics’ Peking opera characters. There were 225 website volunteers who took part in the study. Via a questionnaire survey and analysis, this study explored the feasibility of “simplification” in comedy. The results indicate that the proposed “simplifying” approach can be applied to the creation of dramatic characters, but the scale of simplification must be adjusted flexibly to suit different subjects. For audiences, there is not much recognition and sympathy for the works that are simplified in the extreme and the current symbolization. The simplification used in this study is merely the first step in testing the usefulness of simplification as an approach. It is used as a means of understanding the cognition of the audience to accept the simple features of Peking opera characters. In subsequent studies, the proposed “simplified” approach is necessary to adapt and improve with a view to practical application. It also requires an in-depth analysis of the cognitive differences of the different participants according to the cognitive and communication theories of artistic creation.

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Lean, Eugenia. "Joshua Goldstein.Drama Kings: Players and Publics in the Recreation of Peking Opera, 1870–1937.:Drama Kings: Players and Publics in the Recreation of Peking Opera, 1870–1937." American Historical Review 113, no. 2 (April 2008): 472. http://dx.doi.org/10.1086/ahr.113.2.472.

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Chiang, Wei‐Hwa, Wei Lin, and Ya‐Jhen Yu. "Subjective Assessments of Acoustical Environments for Un‐assisted Traditional Peking Opera Performances." Journal of the Acoustical Society of America 123, no. 5 (May 2008): 3097. http://dx.doi.org/10.1121/1.2932952.

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Raben, Estelle M. "Peking Opera: The Persistence of Tradition in the People's Republic of China." Journal of Popular Culture 25, no. 4 (March 1992): 53–62. http://dx.doi.org/10.1111/j.0022-3840.1992.00053.x.

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GAO, YANG. "‘Purification’ and ‘Hybridization’: (Re)construction and Reception of Theatrical Nationality in Western Tours of the Mei Lanfang and Tsutsui Troupes in 1930." Theatre Research International 47, no. 3 (October 2022): 238–51. http://dx.doi.org/10.1017/s0307883322000220.

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The Western tours of the Mei Lanfang and Tsutsui troupes in 1930 illustrated how to (re)construct the theatrical nationality of China and Japan through the manifestation and manipulation of the performance of Peking opera and kabuki. Through the ‘purification’ of Peking opera's stage presentation system, the Mei Lanfang troupe forged a ‘pure’ theatrical Chineseness that boosted the Americans’ fascination with the ‘(a)historicality’ of Chinese theatrical tradition. By presenting Westerners with a ‘hybridized’ kabuki, which embodied a ‘historically authentic’ theatrical Japaneseness, the Tsutsui troupe deconstructed Westerners’ psychological expectations of a culturally imagined ‘pure’ and ‘classical’ Japanese theatre. As two sides of the same coin, the two troupes’ (re)construction of theatrical Chineseness and Japaneseness together challenged the West's essentialist views of cultural ‘Others’, which forcibly endowed Eastern theatre with a pure and unchanged ‘otherness’.

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Guy, Nancy. "Huju: Traditional Opera in Modern Shanghai. By Jonathan P. J. Stock. [Oxford and New York: Oxford University Press, 2003. 279 pp. £45.00. ISBN 0-19-726273-2.]." China Quarterly 177 (March 2004): 239–41. http://dx.doi.org/10.1017/s0305741004360121.

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This book is a welcome addition to the relatively small number of monograph-length studies dedicated to living Chinese opera traditions. Its focus on one of the hundreds of regional opera forms, Shanghai huju, as opposed to the better-known Peking opera (jingju), makes this book even more exceptional. Stock has designed his tome with the admirable goal of situating his study within the disciplinary frame of ethnomusicology. Broadly speaking, Chinese music has not achieved the same prominence in the general ethnomusicological discourse or the emerging “world music canon” as music of other regions, such as Bali or India. The reasons for this are many, and Stock should be commended for recognizing and aiming to tackle the problem. In his opening pages, Stock lays out the conundrum and questions where to position his study on a plane ranging from dry description to theoretical introspection. The book achieves a middle ground between these two extremes with most chapters organized around specific themes or theoretical concerns.

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Qing, J. "On the Revolution in Peking Opera (Tan Jingju geming): A Speech from the Plenary Discussion with Performers after the Modern Peking Opera Trial Performance Convention in Beijing, July 1964." Opera Quarterly 26, no. 2-3 (March 1, 2010): 455–59. http://dx.doi.org/10.1093/oq/kbq025.

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Wen, Mengjun, Hui Ma, Jiaojiao Yang, and Lu Yang. "Main acoustic attributes and optimal values of acoustic parameters in Peking opera theaters." Building and Environment 217 (June 2022): 109041. http://dx.doi.org/10.1016/j.buildenv.2022.109041.

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46

Yao, Hai-Hsing. "The Relationship between Percussive Music and the Movement of Actors in Peking Opera." Asian Music 21, no. 2 (1990): 39. http://dx.doi.org/10.2307/834111.

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Sussman, Sally, and Tony Day. "Orientalia, Orientalism, and The Peking Opera Artist as ‘Subject’ in Contemporary Australian Performance." Theatre Research International 22, no. 2 (1997): 130–49. http://dx.doi.org/10.1017/s030788330002054x.

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As brochures for the January 1996 Sydney Festival blare out ‘Feel the Beat. Feel the Heat!’ to draw the crowds of summering Sydney folk to performances of the National Dance Company of Guinea (already appropriated and stamped with approval by reviewers in San Francisco and London, who are quoted on the same flyer), the chairman and former artistic director of Playbox Theatre in Melbourne, Carrillo Gartner, worries about the strength of popular Australian opposition to Australia's expanding links with Asia. In an article on the holding of the 14th annual Federation for Asian Cultural Promotion in Melbourne, Gartner fears that ‘there are people in this community […] thinking that […] it is the demise of all they believe in their British heritage’. The focus of the article, though, is not the promotion of Asian culture but how to overcome Asian indifference to Australia and the problem of bringing Australian artists to the notice of Asian impresarios and audiences. Australian cultural cringe wins out over Australian Asia-literate political correctness. In another corner of the continent the director and playwright Peter Copeman has been attempting to replace ‘the Euro-American hand-me-downs and imitations’ of mainstream Australian theatre with a theatre project which explores ‘attitudes of the dominant Anglo-Celtic and the Vietnamese minority cultures towards each other, using the intercultural dialectic as the basis of dramatic conflict’.

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48

Guy, Nancy. "Governing the Arts, Governing the State: Peking Opera and Political Authority in Taiwan." Ethnomusicology 43, no. 3 (1999): 508. http://dx.doi.org/10.2307/852559.

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Song, Wen Fei, Wen Ya Tian, and Cai Liang Shen. "A Semantic Metadata Describing Video Information Based on Ontology." Advanced Materials Research 186 (January 2011): 418–22. http://dx.doi.org/10.4028/www.scientific.net/amr.186.418.

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The paper has investigated the metadata for annotating the video information, and put up with the framework architecture of a semantic metadata describing video information based on ontology. Firstly a domain ontology library is constructed, the video information is described by the ontology, and the video library system with architecture is developed. The paper builds a semantic ontology library for Peking Opera, and gets the conclusion that it is feasible to describing video information with semantic metadata based on ontology.

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Zhang, Fengquan, Pingzhe Li, Yahui Gao, Liuqing Xu, and Duo Cao. "A real-time personalized face modeling method for peking opera with depth vision device." Computers & Electrical Engineering 93 (July 2021): 107236. http://dx.doi.org/10.1016/j.compeleceng.2021.107236.

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Journal articles on the topic 'Peking opera'

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