Готові списки джерел за темами / National Beijing Opera Theatre of China / Статті в журналах
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Статті в журналах з теми "National Beijing Opera Theatre of China"

Автор: Grafiati
Опубліковано: 25 липня 2024
Оновлено: 31 липня 2025

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1

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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Анотація:
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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2

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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Анотація:
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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3

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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Анотація:
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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4

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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Анотація:
The object of this research to one-man production “Lear is Here” based on W. Shakespeare's tragedy, “King Lear”. 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’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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5

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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Анотація:
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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6

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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Анотація:
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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7

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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Анотація:
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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8

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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Анотація:
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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9

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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10

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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Анотація:
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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11

Kaidi, Wang. "CULTURAL CONTACTS BETWEEN RUSSIA AND CHINA IN THE FIELD OF MUSIC AND DRAMA THEATER (50s of the XXth century)." Arts education and science 1, no. 2 (2021): 99–106. http://dx.doi.org/10.36871/hon.202102012.

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Анотація:
The article is devoted to the cultural cooperation between the USSR and the People's Republic of China in the field of musical theater. The Treaty of Friendship, Alliance and Mutual Assistance between these two countries, signed in Moscow on February 14, 1950, became a starting point in the development of cultural contacts. The most productive period was from 1949 to early 1960s. An important marker of the development of Soviet-Chinese cultural relations was the tour of theater troupes from both countries to the Soviet Union and the Celestial Empire. The Stanislavsky and Nemirovich-Danchenko M
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12

Schmich, Isabelle, Paul Chervin, Zhu Xiangdong, Yan Xiang, and L. Guo‐Qi. "The acoustics of the Beijing National Grand Theatre of China." Journal of the Acoustical Society of America 123, no. 5 (2008): 3097. http://dx.doi.org/10.1121/1.2932950.

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13

Menwen, Zhang. "CONTRIBUTION OF THE RUSSIAN PEDAGOGICAL SINGING SCHOOL TO THE FORMATION OF GUO SHUZHEN, THE STAR OF THE CHINESE OPERA OLYMPUS." Arts education and science 1, no. 34 (2023): 72–78. http://dx.doi.org/10.36871/hon.202301072.

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Анотація:
The article is devoted to the period when Guo Shuzhen (born 1928), an outstanding representative of the Chinese vocal school, studied at the Moscow Conservatory. The author defines the moments contributing to the formation of European vocal training branch in China, and describes the first teachers who emigrated from Russia in 1919 and became the founders of the first vocal schools in Shanghai and Harbin. The versatile activity of Guo Shuzhen, a chamber and opera singer raised by the Moscow Conservatory school, is briefly characterized. The main goal is to consider the stages of the formation
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14

Hao, Shuang. "Peoples Character and National Identity: The Role of the 1955 European Tour of the Chinese Classical Dance and Music Troupe in Promoting New Chinas Diplomacy." Communications in Humanities Research 64, no. 1 (2024): 17–26. https://doi.org/10.54254/2753-7064/2024.18993.

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Анотація:
In 1955, the Chinese Classical Theatre Troupe toured Europe in two groups, attracting significant interest from local audiences and introducing the art of New Chinese opera to the European media. European newspapers and periodicals consistently reported on the performances of Chinese opera through news articles, special features, and drama reviews, thereby establishing an artistic image of China with distinctive characteristics and illustrating the methods and characteristics of shaping the image of New China. This study, utilizing collections from the troupes tour, oral histories, overseas di
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15

Yan, Yang. "The activities of the Chinese orchestras of the traditional instruments of the new type in the 1960s - 1970s." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 198–211. http://dx.doi.org/10.34064/khnum2-49.14.

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Анотація:
Background. The article discusses one of the most complex and controversial periods in the development of the Chinese orchestra of traditional instruments of the new type – the 1960–70s. Since 1966, with the beginning of the Cultural Revolution, all conservatories were closed, and Western instruments and teaching materials were destroyed. Chinese musicians, unable to play classical music, were forced to work with folk songs and folklore in remote provinces. The objective assessment of this historical phenomenon makes it possible to evaluate it not only as a dead end on China’s path to modern p
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16

Yan, Yang. "The activities of the Chinese orchestras of the traditional instruments of the new type in the 1960s - 1970s." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 198–211. http://dx.doi.org/10.34064/khnum1-49.14.

Повний текст джерела
Анотація:
Background. The article discusses one of the most complex and controversial periods in the development of the Chinese orchestra of traditional instruments of the new type – the 1960–70s. Since 1966, with the beginning of the Cultural Revolution, all conservatories were closed, and Western instruments and teaching materials were destroyed. Chinese musicians, unable to play classical music, were forced to work with folk songs and folklore in remote provinces. The objective assessment of this historical phenomenon makes it possible to evaluate it not only as a dead end on China’s path to modern p
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17

Chernyavska, Marianna, and Sun Le. "Sound image of Peking opera in piano works of Chinese composers." Aspects of Historical Musicology 37, no. 37 (2024): 138–66. https://doi.org/10.34064/khnum2-37.07.

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Анотація:
Statement of the problem. Among the regional varieties of Chinese musical and dramatic art, the leading place belongs to the capital drama – Beijing (Peking) opera Jingcui, which has absorbed many elements of performances from other regions of China. This art form is considered one of the most valuable cultural treasures of China, it inspires many Chinese composers to create piano music, which presents the sound image of Peking opera. Objectives, methods, and novelty of the research. The purpose of the article is to identify and scientifically substantiate the connections of the piano works of
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18

Xiao, Xiaoning. "The Use of Traditional Opera Elements in the Characterization Process of Contemporary Stage Drama." Highlights in Art and Design 4, no. 1 (2023): 13–16. http://dx.doi.org/10.54097/hiaad.v4i1.11564.

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Анотація:
As one of the national treasures of China, the art of opera shapes characters from various aspects such as opera music, character movements, character situations, props, etc., plus its unique programmed aesthetic characteristics, which makes the art of opera make great achievements in character shaping. Based on its own development and change requirements, coupled with the localized transformation requirements of foreign stage dramas, the stage drama has continuously absorbed the successful factors of the opera, especially in the aspect of characterization. The article takes the application of
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19

Shao, Chunbo. "ASPECTS OF IMPLEMENTATION OF CHINESE NATIONAL TRADITIONS IN YIN QING’S OPERA. ON THE EXAMPLE OF THE OPERA THE BALLAD OF THE CANAL." Scientific and analytical journal Burganov House. The space of culture 21, no. 1 (2025): 26–33. https://doi.org/10.36340/2071-6818-2025-21-1-26-33.

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Анотація:
The focus of the study is on the characteristics of implementation of Chinese cultural national traditions in Yin Qing’s opera, The Ballad of the Canal. The importance of the Great Chinese Canal, which played a key role in the economic and social development of the country for many centuries, is expressed in the opera. The composer created the opera during a period of intensive development of academic vocal art in China (2012), which contributed to the embodiment of the national concept in Yin Qing’s work. The opera The Ballad of the Canal is based on the history of the Beijing-Hangzhou Grand
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20

Xue, Charlie Qiuli, Zhigang Wang, and Brian Mitchenere. "In search of identity: the development process of the National Grand Theatre in Beijing, China." Journal of Architecture 15, no. 4 (2010): 517–35. http://dx.doi.org/10.1080/13602365.2010.507532.

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21

Zhang, Tianjiao. "To the origins of creation of Beijing Ballet School. Olga Aleksandrovna Ilyina." Человек и культура, no. 5 (May 2020): 25–35. http://dx.doi.org/10.25136/2409-8744.2020.5.33738.

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Анотація:
The subject of this research is the first stage of creation of Beijing Ballet School, while the object is the pedagogue of the Moscow State Academy of Choreography O. A. Ilyina. The author underlines her contribution to the creation of the first professional system of education in China. The role of Soviet ballet masters and pedagogues, who carefully examines the peculiarities of Chinese teaching technique is highlighted. The Russian system of choreographic education with its accumulated valuable theoretical and pedagogical experience laid the foundation for establishment of the system of prep
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22

Cui, Ziying. "Inventing the Tradition: Hybrid Gudianwu Training and Ambiguous Chineseness." Asian Theatre Journal 41, no. 2 (2024): 360–84. http://dx.doi.org/10.1353/atj.2024.a936941.

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Анотація:
Abstract: Since the establishment of the People’s Republic of China in 1949, Chinese dance pioneers have experimented with creating a national dance form, Zhongguo gudianwu 中国古典舞 (Chinese classical dance), to promote Chinese national and cultural identity. In the 1950s, dance pioneers drew upon the training method of Soviet ballet and movements from xiqu 戏曲 (traditional Chinese theatre) to institutionalize a gudianwu training system at Beijing Dance School. While the practice of gudianwu was paused during the Cultural Revolution (1966–1976), since the 1980s the school’s gudianwu pioneers aimed
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23

Han, Xiaoxin, and Feng Sun. "The Origin and Initial Development of Chinese Documentaries (1905-1931)." Russian and Chinese Studies 4, no. 2 (2020): 170–75. http://dx.doi.org/10.17150/2587-7445.2020.4(2).170-175.

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Анотація:
This article discusses the origins and early development of Chinese documentaries. Cinematography in almost all countries began with documentaries, because from the very beginning cinema existed as a means of recording. Chinese documentaries, which appeared in 1905, are no exception either. Documentaries reveal the history of Chinese cinematography. The first film produced by the Chinese was a piece from the Beijing Opera. The development of science and technology, especially photography, created necessary preconditions for the invention of cinema. In 1839, a photography emerged. In 1840, a re
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24

Jin, Panpan, and Shuang Liu. "Study on the Development Path of Lingbi Shadow Theater in the Age of Self-media." Academic Journal of Science and Technology 7, no. 2 (2023): 210–12. http://dx.doi.org/10.54097/ajst.v7i2.12275.

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Анотація:
As an intangible cultural heritage of Anhui Province, how to better inheritance and development is an important issue that Lingbi shadow theatre is facing now. This project mainly explores how Lingbi shadow theatre can make use of the fast and convenient self-media platform to reach the public in the age of self-media. Through the field investigation method, literature reading method and other research methods, we study the artistic characteristics and cultural connotation of Lingbi Shadow Opera, and analyse the dilemmas and reasons it is facing nowadays. According to the communication methods
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25

Demchenko, Mariia. "MARKETING MANAGEMENT IN THE FIELD OF THEATRE ARTS." Vìsnik Sumsʹkogo deržavnogo unìversitetu 2024, no. 2 (2024): 55–63. http://dx.doi.org/10.21272/1817-9215.2024.2-06.

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Анотація:
Even taking into account the difficult conditions of life in Ukraine, society always strives to restore itself by filling itself with positive emotions. Considering these aspects, the theater industry is still growing even faster than during the pandemic since 2020. Accordingly, today marketing is an important tool for the successful functioning and development of theatrical art, ensuring its accessibility, popularity and financial stability. The purpose of the article is to analyze the effectiveness of marketing management support in the field of theatrical art. The results of the analysis of
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26

Li, Qiang. "Peculiarities of the mutual influence of Italian and Chinese musical theater tradition in historical development." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 67, no. 67 (2023): 56–77. http://dx.doi.org/10.34064/khnum1-67.04.

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Анотація:
Statement of the problem. Modern opera performance art in China is closely related to the national theater tradition, which has a thousand-year history. Despite the fact that Italian (and generally European) musical and dramatic art has been known in China for more than a few century, the public did not perceive it for a long time due to significant differences in many aspects: from stage dramaturgy, vocal roles to behavioral norms in the theater institutions. This study draws historical parallels between Italian opera and national Chinese music-theatre art and examines attempts to adapt Itali
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27

Xu, Jiekang. "The Second Rise of the Role of the Male Dan and Its Opera Historical Significance." Humanities and Social Science Research 8, no. 1 (2025): p133. https://doi.org/10.30560/hssr.v8n1p133.

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Анотація:
Sheng and Dan roles are indispensable in the performance of Beijing Opera , and the change of status between the two also reflects the choice of the times. Since the formation and development of the Dan role, it has gone through two big open and close rise and decline. The second rise of Danjiao in the Republican period is also the result of the dual role of Danjiao's own factors and the factors of the times. There are three reasons: First, the widespread dissemination of new bourgeois ideas, the establishment of the new Republic of China, so that the idea of people-oriented in-depth, the qual
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28

Guo, Shiyong, and Norzizi Zulkafli. "The Emotional Expression in the Dance Performance of ‘Confucius’ in the Dance Drama ‘Confucius’." Malaysian Journal of Social Sciences and Humanities (MJSSH) 10, no. 5 (2025): e003398. https://doi.org/10.47405/mjssh.v10i5.3398.

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Анотація:
The dance drama Confucius, created by the China National Opera and Dance Drama Theatre in 2013, portrays the life experiences of the renowned historical figure Confucius. Through the expressive integration of dance body movements, the performance deeply explores Confucius’s emotional world while conveying Confucius philosophical ideas. This research explores how the character of ‘Confucius’ in the dance drama expresses both positive and negative emotions through dance body movements, and how these emotional expressions impact the reflection of Confucius’s philosophical ideas. The objective of
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29

Gao, Xiaobin, and Rumpai Soonjan. "Development and Promotion of Wushu Guidelines in Shanxi Province University." International Journal of Sociologies and Anthropologies Science Reviews 4, no. 2 (2024): 157–72. http://dx.doi.org/10.60027/ijsasr.2024.3840.

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Анотація:
Background and Aim: Wushu, often regarded as one of the key elements of traditional Chinese culture, along with medicine, Beijing Opera, and calligraphy, form what is known as the "four quintessences of China." This cultural heritage has evolved and gained profound practical significance over thousands of years. This research aims to assess and advance the current status of "Wushu in campus" initiatives in higher education institutions, contributing to students' health, the propagation of Chinese Wushu, and the preservation of traditional national culture. Materials and Methods: There were 5,3
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30

Zhang, Guangjian. "Problems of interpretation of the piano compositions byZhangZhao (on the example of the Fantasy “Pihuang”)." Aspects of Historical Musicology 21, no. 21 (2020): 230–47. http://dx.doi.org/10.34064/khnum2-21.15.

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Анотація:
Background. The article is devoted to the piano work of the famous Chinese composer Zhang Zhao. The focus is on the “Pihuang” Fantasy, which embodies the national characteristics of Peking opera. This work won an honorary award at the 2007 Chinese composition competition for high artistic qualities and deep content. The article examines, how the composer uses the musical elements of the Chinese opera tradition to create a certain drama of the work, how the sound specificity of the timbre colors of the voice, the techniques of vocal sound production and recitation, the image of Chinese instrume
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31

Ян, Т., and Д. И. Варламов. "The development of Chinese vocal music of the 20th century in the context of the processes of academization of art." АКТУАЛЬНЫЕ ПРОБЛЕМЫ ВЫСШЕГО МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ, no. 1(72) (April 1, 2024): 76–84. http://dx.doi.org/10.26086/nk.2024.72.1.012.

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Анотація:
Вокальное искусство Китая, одно из самых древних в мире, не прекращает своего развития на протяжении тысячелетий. Начиная со второй половины XIX века, этот процесс стал особенно интенсивным: в китайской культуре появилось «бельканто», под которым китайские музыканты подразумевали общеевропейскую манеру пения, Пекинская опера, современное национальное пение. В ХХ веке национальная вокальная музыка Китая начала активно перенимать западные музыкальные традиции, чему способствовало основательное знакомство с ними и обучение музыкантов Китая в Европе, в том числе в Советском Союзе, и Америке. При э
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32

Zhou, Yi. "Presentation of the Motherland image in the creativity of modern Chinese vocalists." Aspects of Historical Musicology 19, no. 19 (2020): 285–97. http://dx.doi.org/10.34064/khnum2-19.16.

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Анотація:
Background. The mindset of people who inhabit one or the other country determines the process of formation and fixation of intonational vocabulary, which reflects and in the music culture, including songs. In such a case, phonetic and syntax particular qualities of verbal language intersect with national musical language. The proof of that is a vocal art, whose essential parameters (from intonational scale to the aspects of voice staging) present originality of national worldview. However, in recent decades, the preservation of the uniqueness of the artistic expression of peoples and ethnic gr
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33

Zhang, Xiqui. "Interpretive properties of recitation in the vocalist’s performing arts." Aspects of Historical Musicology 21, no. 21 (2020): 247–60. http://dx.doi.org/10.34064/khnum2-21.16.

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Анотація:
Background. One of the main positions of the vocalist’s practice is to understand the recitation as a kind of interpretation of the musical text, which is fixed in the notes. In the process of performing a piece of music, be it the song, the romance, the recitative, the aria in an opera or a musical drama, one specific variant is selected each time from its many potential meanings. This is the performer’s interpretation of the declamatory intonation, because the composer usually does not indicate the tone, timbre and strength of the voice, minimally orienting a singer in the desired intonation
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34

Vernyhor, Dmytro. "Ukrainian Dance – Global Hallmark (Dedicated to the Anniversary of the National Honoured Dance Ensemble of Pavlo Virsky)." Diplomatic Ukraine, no. XIX (2018): 757–66. http://dx.doi.org/10.37837/2707-7683-2018-47.

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Анотація:
The article is concerned with life and creative path of P. Virskyi and the ensemble he leads in the context of cultural diplomacy. The author analyses that the aspiration to create realistic and folk plays by nature has influenced the artist in his exploring and further developing the folk dance. Therefore, applying the experience of folk talents, Virskyi was committed to create characters of Ukrainian stage dance, expanded and enriched its expressiveness. Pavlo Virskyi directed some choreographic performances already in the first days of his activity as choreographer, but his actual work on t
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35

Xiong, Yahuan. "Soprano as a phenomenon of artistic representation of the human image in European and Chinese traditions." Aspects of Historical Musicology 33, no. 33 (2023): 86–110. http://dx.doi.org/10.34064/khnum2-33.05.

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Анотація:
Statement of the problem. The study of the singing voice is a “point of reference” for the scientific cognition of vocal art, which is relevant both in the historical and the modern aspects. In particular, it has turned out that its history and status such voice as soprano in modern performance culture is not obvious, even for experts. The specificity of the timbre and pitch range of soprano singers, their demand on the stage remains an actual topic that has not yet been fully covered. Objectives, methods, and novelty of the research. The purpose of the article is to highlight the history of t
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36

Giordano, Silvia. "“Originated in China”: Western opera and international practices in the Beijing National Centre for the Performing Arts." European Journal of Cultural Management and Policy 7 (December 1, 2017). http://dx.doi.org/10.3389/ejcmp.2023.v7iss1-article-3.

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Анотація:
The international reputation of Western operas – with artists and producers moving across the world’s opera houses – has become even more global in recent years. Nevertheless, the field of opera has never been analyzed in terms of strategies to foster this vocation in line with the development of the emerging markets outside Europe. China is one of the most flourishing among them in terms of the creation of grand theaters able to perform Western opera together with a strong indigenous opera tradition. Due to the novelty of such appealing context, a case study analysis would provide an evidence
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37

Сюй, Ц. "«Образцовые спектакли» и их роль в развитии музыкальной культуры Китая ХХ–XXI веков". АКТУАЛЬНЫЕ ПРОБЛЕМЫ ВЫСШЕГО МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ, № 2(69) (30 червня 2023). https://doi.org/10.26086/nk.2023.69.2.009.

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Анотація:
Так называемые «образцовые спектакли», возникшие по инициативе Мао Цзэдуна, за пределами Китая известны как продукт идеологизированного искусства периода китайской истории. Однако изначально главная задача не только государственных, но и творческих деятелей была связана с актуализацией уникального жанра традиционной культуры — пекинской оперы, которая задолго до «культурной революции» начала терять живую связь со стремительно меняющейся современностью. «Образцовые спектакли» стали центром коллективных усилий китайских музыкантов и литераторов, ищущих проекцию соединения европейского оперного ж
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38

Huang, Angela Lin. "Leaving the City: Artist Villages in Beijing." M/C Journal 14, no. 4 (2011). http://dx.doi.org/10.5204/mcj.366.

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Анотація:
Introduction: Artist Villages in Beijing Many of the most renowned sites of Beijing are found in the inner-city districts of Dongcheng and Xicheng: for instance, the Forbidden City, Tiananmen Square, the Lama Temple, the National Theatre, the Central Opera Academy, the Bell Tower, the Drum Tower, the Imperial College, and the Confucius Temple. However, in the past decade a new attraction has been added to the visitor “must-see” list in Beijing. The 798 Art District originated as an artist village within abandoned factory buildings at Dashanzi, right between the city’s Central Business District
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39

Puppin, Giovanna. "China’s ‘CivilOlympic’ Performances and (Re)gained Global Visibility Fantasising about a New Brand China through Olympic Public Service Announcements." 57 | 2021, no. 1 (June 30, 2021). http://dx.doi.org/10.30687/annor/2385-3042/2021/01/018.

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Анотація:
This article investigates how China fantasised about itself and the Beijing 2008 Olympics through the award-winning TV public service announcements (PSAs) of the Beijing Opera Series, with a focus on visibility. By drawing on theories of the spectacle, I perform a semiotic analysis of the most recurrent signs, organising them according to the main themes that emerge. The theatre stage – which represents the Olympic stage – is closely linked to China’s dream of owning the Games and its desire for global visibility. The performance includes the theatrical performance of the Beijing Opera and the
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40

ЛЯН, Л. "ПОСТАНОВКА ОПЕРЫ ТАН ЦЗЯНЬПИНА «А ЗОРИ ЗДЕСЬ ТИХИЕ»: ДИАЛОГИ ВО ВРЕМЕНИ И ПРОСТРАНСТВЕ". Музыка и время, № 4 (28 квітня 2025). https://doi.org/10.25791/music.4.2025.1355.

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Анотація:
В предлагаемой статье впервые представлен один из самых современных театрально-музыкальных проектов, осуществлённых в Национальном Большом театре города Пекина ровно десять лет назад - в 2015 году. Автор рассматривает оперу «А зори здесь тихие» Тан Цзяньпина в широком многомерном контексте, позволяющем рассуждать о достаточно стройной системе диалогических пересечений: истории и современности, музыки, литературы и киноискусства, а также целого ряда традиций, значимых для китайской и русской художественной культуры. This article presents for the first time one of the most modern theatrical and
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41

Papageorgiou, Maria, and Zeno Leoni. "The Five Eyes Allies and China: Assessing Threat Perceptions and Power Dynamics." Journal of Chinese Political Science, April 14, 2025. https://doi.org/10.1007/s11366-025-09913-w.

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Анотація:
Abstract China's expanding role in global affairs, along with its economic, military, and technological capabilities, have increased concerns about it being a potential threat to U.S. hegemony. Consequently, since 2017, threat perceptions have heightened, with China increasingly viewed as a strategic competitor and rival. While the"China threat theory"is widely analyzed, it is often approached from a U.S.-centric perspective, neglecting the viewpoints of other key actors. This study aims to address that gap by examining also the threat perceptions of four US allies—New Zealand, Australia, Cana
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42

Kang, Yingzheng. "Music culture of China in the middle of the XX century in the context of socio-cultural and ideological transformations." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 1 (May 29, 2022). http://dx.doi.org/10.32461/2226-3209.1.2022.257446.

Повний текст джерела
Анотація:
The purpose of the article is to explore the main aspects of musical culture development in China in the mid-twentieth century in the context of political reforms. The methodology is based on the usage of culturological approach, which determines the generalized socio-cultural orientation of the work, as well as the principle of historicism as the main when considering Chinese musical culture in relation to political processes that took place during this period. The main research methods were: historical and cultural – to study the process of forming the cultural policy of the CCP; comparative
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43

Kuang, Lanlan. "Staging the Silk Road Journey Abroad: The Case of Dunhuang Performative Arts." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1155.

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Анотація:
The curtain rose. The howling of desert wind filled the performance hall in the Shanghai Grand Theatre. Into the center stage, where a scenic construction of a mountain cliff and a desert landscape was dimly lit, entered the character of the Daoist priest Wang Yuanlu (1849–1931), performed by Chen Yizong. Dressed in a worn and dusty outfit of dark blue cotton, characteristic of Daoist priests, Wang began to sweep the floor. After a few moments, he discovered a hidden chambre sealed inside one of the rock sanctuaries carved into the cliff.Signaled by the quick, crystalline, stirring wave of sou
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44

Chen, Jasmine Yu-Hsing. "Beyond Words." M/C Journal 27, no. 2 (2024). http://dx.doi.org/10.5204/mcj.3033.

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Анотація:
Introduction Despite the expansive and multimodal realm of Chinese Boys’ Love (BL) culture (also known as danmei in Chinese), audio works have been notably absent from scholarly discussions, with the focus predominantly being on novels (e.g. Bai; Zhang). This article aims to fill this gap by delving into the transformative impact of sound on narrative engagement within the Chinese BL culture. Focussing on the audio drama adaptations of Grandmaster of Demonic Cultivation (modao zushi, hereafter Grandmaster), originally a serialised Chinese BL novel, this analysis aims to unravel the meticulousl
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45

Ribas-Segura, Catalina. "Pigs and Desire in Lillian Ng´s "Swallowing Clouds"." M/C Journal 13, no. 5 (2010). http://dx.doi.org/10.5204/mcj.292.

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Анотація:
Introduction Lillian Ng was born in Singapore and lived in Hong Kong and the United Kingdom before migrating to Australia with her daughter and Ah Mah Yin Jie (“Ah Mahs are a special group of people who took a vow to remain unmarried … [so they] could stick together as a group and make a living together” (Yu 118)). Ng studied classical Chinese at home, then went to an English school and later on studied Medicine. Her first book, Silver Sister (1994), was short-listed for the inaugural Angus & Robertson/Bookworld Prize in 1993 and won the Human Rights Award in 1995. Ng defines herself as a
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