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Littérature scientifique sur le sujet « National Beijing Opera Theatre of China »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "National Beijing Opera Theatre of China"

THORPE, ASHLEY. "Transforming Tradition: Performances of Jingju (‘Beijing Opera’) in the UK." Theatre Research International 36, no. 1 (2010): 33–46. http://dx.doi.org/10.1017/s0307883310000702.

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Jingju (‘Beijing opera’) is China's most iconic traditional theatre, marketed as a global signifier of Chinese theatre and national identity. Although troupes from mainland China regularly tour Europe, audiences in the UK have also had access to Jingju via two indigenous organizations: the UK Beijing Opera Society (now defunct) and the London Jing Kun Opera Association (now in its ninth year). These organizations consist of Chinese, overseas Chinese and Western performers performing both Jingju and Kunju (‘Kun opera’). Where there is a mix of ethnicity, can ‘traditional Chinese theatre’ still

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Din, Jun, and Violetta N. Yunusova. "Tea Ceremony in Tan Dun’s Opera “Tea: A Mirror of Soul”." Observatory of Culture 21, no. 3 (2024): 274–81. http://dx.doi.org/10.25281/2072-3156-2024-21-3-274-281.

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The study of the work of the famous Chinese composer Tan Dun (b. 1957), who in many ways determines the image of contemporary Chinese music, is closely connected with the identification of the origins of national culture, the reflection of which he pays special attention to. Among them is the ritual and ceremonial side, which has not yet become the subject of special research. That is necessary for a fuller and more adequate interpretation of the content of Tan Dun’s works. The opera “Tea”, in another version “Tea: A Mirror of Soul” (2002) seems to be indicative in terms of revealing both the

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Xue, Wang. "Features of the Genre and Style of the Historical and Heroic Opera “Jiang Jie”." Университетский научный журнал, no. 79 (April 24, 2024): 133–40. http://dx.doi.org/10.25807/22225064_2024_79_133.

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Being internationally recognised and having received many state awards, the historical and heroic opera “Jiang Jie”, or “Sister Jiang”, is considered as one of the peaks of national Chinese music. The work is little studied in the Russian scientifi c literature. The music of the opera is based on Sichuan folk songs and their characteristic pentatonic mode, elements of Sichuan and other types of opera, including Beijing, Yu, Yue, Hang Tang, Yang Qin and others. The score includes spoken dialogue, mass and domestic scenes, as in folk Chinese drama, as well as vocal forms, choral and symphonic pi

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Ding, Yi. "East and West: “Lear is Hear” directed by Wu Xing Guo." Культура и искусство, no. 2 (February 2020): 1–9. http://dx.doi.org/10.7256/2454-0625.2020.2.32195.

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The object of this research to one-man production &ldquo;Lear is Here&rdquo; based on W. Shakespeare's tragedy, &ldquo;King Lear&rdquo;. The theatrical director and actor of Beijing Opera Wu Xing Guo (born 1953, Taiwan) bravely edits the Shakespearian text and principles of the National Theatre of China. Since 1980&rsquo;s, Wu Xing Guo uses the traditional Eastern scenic elements (line of roles, symbolic face painting, acrobatics) and Western European texts, forming a unique theatrical language. The peculiarities of his directing are examined within the Russian theatre stud

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Лю, Ч. "Фортепианная сюита Инь Чэнцзуна на материале оперы «Легенда о красном фонаре»". АКТУАЛЬНЫЕ ПРОБЛЕМЫ ВЫСШЕГО МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ, № 4(75) (23 грудня 2024): 85–96. https://doi.org/10.26086/nk.2024.75.4.009.

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В статье рассматривается одно из самых значительных произведений для фортепиано периода «культурной революции» в Китае — Фортепианная сюита Инь Чэнцзуна, созданная им на материале одной из образцовых пекинских опер «Легенда о красном фонаре». Описывается история создания данного фортепианного цикла, подчеркивается его значение для возрождения и дальнейшего развития фортепианного искусства в Китае, а также использование в музыке сюиты принципа синтеза западной и китайской музыкальной культуры. Автором проводится музыковедческий анализ сюиты для фортепиано с точки зрения ее композиционных особен

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СЯО, Хуівен. "ЛІРИКО-ПСИХОЛОГІЧНА ДРАМА «ЖАЛЬ ЗА МИНУЛИМ» У ДЗЕРКАЛІ СВОГО ЧАСУ: ЛУ СІНЬ – ШИ ГУАННАНЬ". Fine Art and Culture Studies, № 1 (4 квітня 2023): 112–21. http://dx.doi.org/10.32782/facs-2023-1-16.

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Звернення до опери Ши Гуаннаня («Жаль за минулим» («Regret for the Past» / 伤逝) є актуальним у контексті інтеграційних процесів, що характеризують сучасне музично-театральне мистецтво Європи та Китаю. Особливості лібрето опери, заснованого на оповіданні видатного китайського письменника і мислителя Лу Сіня (справжнє ім’я – Чжоу Шужень, 1881–1936) «Скорбота за минулим, або Записки Цзюаньшена» (1925), розглядаються крізь призму соціально-історичних процесів ХХ століття, що мали безпосередній вплив на сюжетну концепцію твору Лу Сіня та музичну драматургію опери Ши Гуаннаня. Розділені часовою диста

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Fei, Faye Chunfang, and William Huizhu Sun. "Othello and Beijing Opera:." TDR/The Drama Review 50, no. 1 (2006): 120–33. http://dx.doi.org/10.1162/dram.2006.50.1.120.

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Two diametrically different theatre projects of cross-cultural appropriation involving Shakespeare's Othello and Beijing opera—1983 production in China and a 1994 workshop at Tufts University—demonstrate the give-and-take and the complexities of intercultural appropriation.

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Huang, Chuting, Irene Bartlett, and Margaret Schindler. "Broadway to Beijing: Training Musical Theatre Singers in China." Australian Voice 25, no. 2024 (2024): 88–99. https://doi.org/10.56307/quiv9291.

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In China, musical theatre is a relatively recent art form that continues to gain wide ranging popularity. Beyond a growing audience for blockbuster productions, a major flow-on effect has seen the rapid rise in, and development of, tertiary level training programs where in addition to traditional “legit” voice production, teachers and singers are challenged to meet an industry demand for proficiency across a wide range of mainstream contemporary style repertoire. This paper presents the historical context for a current and ongoing research study in which elements of Beijing opera are proposed

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Chen, Chen. "Theatre as Memory Site: Cultural Activities, Imaginaries, and Theatrical Things of a Regional Xiqu Theatre in Contemporary China." Asian Theatre Journal 41, no. 1 (2024): 50–79. http://dx.doi.org/10.1353/atj.2024.a927713.

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Abstract: This paper explores how the theatre of a Chinese regional opera, as a memory site and an actor, enunciates stories, theatrical experiences, and imaginaries of xiqu (traditional Chinese theatre) communities. The material presences of theatres ensure the continuities of cultural activities of xiqu traditions in Chinese society today. The institutionalized opera activities that emerged in the 1950s national xiqu reform campaign have molded the Chinese xiqu theatres toward an “enduring site” for constantly revamping regional cultures into the rubrics of national culture coherently. Howev

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Liao, Jingjing. "Chinese National Opera in the Perspective of Feminism." Journal of Education and Educational Research 13, no. 1 (2025): 30–37. https://doi.org/10.54097/qfy3xv78.

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Since the early 1980s, "feminism" was firstly introduced into China from the field of literature, but compared with this trend in literature, art and film, feminist music criticism in Chinese music criticism has been in a nearly blank situation. Even if there are a few pieces of literature on the subject, most of them focus on gender politics and the struggle for women's rights as reflected in the meaning of the scripts of music and theatre works, but do not go deeper into the music itself. In addition, among all kinds of musical works, opera is the most suitable text mode, the script has the

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Thèses sur le sujet "National Beijing Opera Theatre of China"

Hay, Trevor Thomas. "China's Proletarian Myth: The Revolutionary Narrative and Model Theatre of the Cultural Revolution." Thesis, Griffith University, 2000. http://hdl.handle.net/10072/366202.

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China's model works, the so-called `eight great model works' are rarely thought of as `literature', not only because they are of course, performance works, but because they are not thought of in the normative sense as a form of dramatic literature, but as a form of propaganda. This thesis investigates the relationship between propaganda and art by concentrating on the texts of these works and, in particular, by analysing the structure of a narrative type which is not just a blueprint for dramatic texts but a design for the Chinese revolutionary narrative, as embodied in Mao Zedong's key uttera

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Livres sur le sujet "National Beijing Opera Theatre of China"

National Beijing Opera Theatre of China. Fesṭival Sin. ha-Operah ha-Yiśreʼelit Tel-Aviv-Yafo, 2005.

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Chapitres de livres sur le sujet "National Beijing Opera Theatre of China"

Grene, Nicholas. "Re-Imagining Synge." In Irish Theatre in the Twenty-First Century. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198893073.003.0004.

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Abstract J. M. Synge, first internationally acclaimed playwright of the Irish national theatre movement, poses problems for modern directors. The Playboy of the Western World remains a classic, much revived at home and abroad, but most of the rest of his work is too short or is unsuitable for contemporary production. Garry Hynes, artistic director of Druid, solved this problem with DruidSynge (2005), staging all of his six plays as a single marathon production. Other directors have sought to re-imagine Playboy for modern audiences. Niall Henry directed a highly stylized Playboy in the Abbey in

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Mello, Cecília. "Impurity and Identification." In The Moving Form of Film. Oxford University Press, 2023. http://dx.doi.org/10.1093/oso/9780197621707.003.0013.

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Abstract Throughout its history, the cinema of mainland China has displayed a particular affinity with Chinese opera in its different regional and national varieties. An overview of this intermedial history reveals how Chinese opera intermingled with film in myriad ways. This chapter suggests that an intermedial history of Chinese cinema, framed through the opera lens, blurs the divide between old and new media, socialist and postsocialist arts, theatrical and photographic ontology, foreign and national styles, operatic and realist modes, allowing for a more encompassing appreciation of what a

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"Department, Guizhou Normal University. He is a member of the Chinese Musicians’ Association and Director of the Society for Nuo-drama of China. Tsao Penyeh is Senior Lecturer in Ethnomusicology at the Chinese University of Hong Kong. His research interest in Chinese music includes singing-narratives, puppet theatre, and ritual music. Tsao heads the Ritual Music in China Research Programme at the Music Department of the Chinese University of Hong Kong, aiming to systematically investigate Taoist and Buddhist ritual music as well as ritual music of other ethnic nationalities in China. With a team of twenty scholars, the Research Programme is presently conducting a three-year project ‘Comparative Study of Regional and Transregional Taoist Ritual Music Traditions of Major Temples in China, Hong Kong and Taiwan’. Tian Lian-tao is an ethnomusicologist and composer, and professor of the Central Conservatory of Music, Beijing, China. He has conducted extensive research into the traditional music of China’s minority nationalities for more than forty years. Xiu Hailin was born in Shanghai in 1952 and graduated from the department of Musicology at the Central Conservatory of Music in 1983. He is currently the Assistant Professor and Assistant Director of the Institute of Music, Central Conservatory of Music. Tsui Ying is currently an ethnomusicology Ph.D. student in the University of Pittsburgh (Pennsylvania, USA). He received his B.A. in 1987 and his M.Phil. (Chinese music), in 1990 from the Chinese University of Hong Kong. His major field of interest in Chinese instrumental music. In Hong Kong, he has been active as a Chinese flute player as well as a conductor in the modernized Chinese folk orchestras, as well as a Western flute player, for over a decade. His master thesis studied amateur Chinese orchestras in Hong Kong in the seventies with reference to the musical characteristics of the kind of repertoire performed and the social context in which the orchestras emerged. Tsui’s doctoral dissertation is on the issues concerning the traditional Cantonese music ensemble. Ruth Wingyu Yee , a founder of the Shatin Cantonese Opera Troupe, Hong Kong, has for the past ten years been serving on its management committee and performing as a principal actress. She was a solo folksong singer." In Tradition & Change Performance. Routledge, 2012. http://dx.doi.org/10.4324/9780203985656-17.

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Actes de conférences sur le sujet "National Beijing Opera Theatre of China"

SCHMICH, I., C. ROUGIER, Z. XIANGDONG, Y. XIANG, and L. GUO-QI. "SUBJECTIVE EVALUATION OF THE BEIJING NATIONAL GRAND THEATRE OF CHINA." In Auditorium Acoustics 2008. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/17497.

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