Against the background of a rigorous campaign of globalization of Chinese culture, the global dissemination of local operas has drawn attention from the government, art performers, translators and scholars. This paper...Against the background of a rigorous campaign of globalization of Chinese culture, the global dissemination of local operas has drawn attention from the government, art performers, translators and scholars. This paper takes Wuxi Opera, a precious cultural treasure in Jiangsu province, China, for example. We will discuss the difficulties in spreading Wuxi Opera globally and learn the successful globalizing experience from other operas, such as Peking Opera, Kunqu Opera and Sichuan Opera. Considering the important status and rich resources of Peking Opera, we will analyze Peking Opera thoroughly and the most important aspects of Sichuan Opera and Kunqu Opera. By analyzing their translations and globalization process, we believe that Wuxi Opera should make efforts especially in four aspects to make progress in its globalizing campaign.展开更多
The opera is one of the music peaks of realism in the world opera literatures.It is full of sincere feelings and its characters have the real and vivid personality. Tchaikovsky choosing Pushkin＇ s ＂Onegin＂ as the o...The opera is one of the music peaks of realism in the world opera literatures.It is full of sincere feelings and its characters have the real and vivid personality. Tchaikovsky choosing Pushkin＇ s ＂Onegin＂ as the opera theme is because he wants to get rid of the things of flashy without substance and he needs poetic, humanistic and simple subjects.展开更多
In recent decades, a new type of cultural upsurge surrounding kunqu1 has arisen in Chinese language sphere, though respectively due to different reasons in China's Mainland, Hong Kong, Taiwan and other Chinese dia...In recent decades, a new type of cultural upsurge surrounding kunqu1 has arisen in Chinese language sphere, though respectively due to different reasons in China's Mainland, Hong Kong, Taiwan and other Chinese diaspora. Against the global trend of culture heritage nationalization context, via the new media platform, the performative staging of individual emotions and reverie in the market society2, the longings to redeem various alienation in a vertical modernity3, as well as the yearnings for emotional balance in a burgeoning feministic modernity, all integrate with each other and together generate a restless transforming memory for kunqu. Just like a misty veil, this complex, contentious, contradictory and long-lasting collective memory-making process blurs kunqu＇s appearance, expands its layers, and ultimately generates a cultural myth. With detailed case studies this paper aims to reflect upon the deep reasons for the kunqu myth and to probe the transformative powers of a performative space in enabling remembrance and/or forgetting.展开更多
Sayonara 1945, performed by Golden Bough Theatre in 2010 in Taipei, was claimed to be a ＂Heart Taiwan Magical Musical＂. This ＂Heart Taiwan Magical Musical＂ is actually an adaptation ofTaiwan Residents Opela, a ref...Sayonara 1945, performed by Golden Bough Theatre in 2010 in Taipei, was claimed to be a ＂Heart Taiwan Magical Musical＂. This ＂Heart Taiwan Magical Musical＂ is actually an adaptation ofTaiwan Residents Opela, a reformed and adapted style of Taiwan Residents local opera （gezaixi）, which has been strongly influenced by Japanese Colonization. Sayanara 1945 fictionalizes a troop of Taiwan Residents youths who join the Imperial Army being lied and cheated to dig gold for the Japanese Emperor after the war is over. This play gives a conflicting scenario of being Taiwan Residents in 1945, while everything that defined Taiwan Residents suddenly turned out to be treason to the country. By adapting the form of Opela, the play structurally presents a society where diverse and plural cultural elements counteract each other in Taiwan. Furthermore, as the title suggests, the play says Sayonara （＂Goodbye＂ in Japanese） to 1945, yet the confusion and conflict generated in 1945 still haunt Taiwan Residents society. In other words, the play responds to an on-going self-conflict of being Taiwan Residents that still continues even after the war and unto the present symbolically. Presented in the year before ＂the Republic of China＂ celebrated her hundredth birthday, this play portrays the anxiety about who the Taiwan Residents really are over the island, just like in the summer of 1945 when everything was also uncertain and confusing. This paper intends to discuss, by adopting the form and techniques of Opela, how this reformed Opela speaks for Taiwan Residents local arts and culture, and how the Taiwan Residents identity is framed and shaped ever since the colonization era.展开更多
文摘Against the background of a rigorous campaign of globalization of Chinese culture, the global dissemination of local operas has drawn attention from the government, art performers, translators and scholars. This paper takes Wuxi Opera, a precious cultural treasure in Jiangsu province, China, for example. We will discuss the difficulties in spreading Wuxi Opera globally and learn the successful globalizing experience from other operas, such as Peking Opera, Kunqu Opera and Sichuan Opera. Considering the important status and rich resources of Peking Opera, we will analyze Peking Opera thoroughly and the most important aspects of Sichuan Opera and Kunqu Opera. By analyzing their translations and globalization process, we believe that Wuxi Opera should make efforts especially in four aspects to make progress in its globalizing campaign.
文摘The opera is one of the music peaks of realism in the world opera literatures.It is full of sincere feelings and its characters have the real and vivid personality. Tchaikovsky choosing Pushkin＇ s ＂Onegin＂ as the opera theme is because he wants to get rid of the things of flashy without substance and he needs poetic, humanistic and simple subjects.
文摘In recent decades, a new type of cultural upsurge surrounding kunqu1 has arisen in Chinese language sphere, though respectively due to different reasons in China's Mainland, Hong Kong, Taiwan and other Chinese diaspora. Against the global trend of culture heritage nationalization context, via the new media platform, the performative staging of individual emotions and reverie in the market society2, the longings to redeem various alienation in a vertical modernity3, as well as the yearnings for emotional balance in a burgeoning feministic modernity, all integrate with each other and together generate a restless transforming memory for kunqu. Just like a misty veil, this complex, contentious, contradictory and long-lasting collective memory-making process blurs kunqu＇s appearance, expands its layers, and ultimately generates a cultural myth. With detailed case studies this paper aims to reflect upon the deep reasons for the kunqu myth and to probe the transformative powers of a performative space in enabling remembrance and/or forgetting.
文摘Sayonara 1945, performed by Golden Bough Theatre in 2010 in Taipei, was claimed to be a ＂Heart Taiwan Magical Musical＂. This ＂Heart Taiwan Magical Musical＂ is actually an adaptation ofTaiwan Residents Opela, a reformed and adapted style of Taiwan Residents local opera （gezaixi）, which has been strongly influenced by Japanese Colonization. Sayanara 1945 fictionalizes a troop of Taiwan Residents youths who join the Imperial Army being lied and cheated to dig gold for the Japanese Emperor after the war is over. This play gives a conflicting scenario of being Taiwan Residents in 1945, while everything that defined Taiwan Residents suddenly turned out to be treason to the country. By adapting the form of Opela, the play structurally presents a society where diverse and plural cultural elements counteract each other in Taiwan. Furthermore, as the title suggests, the play says Sayonara （＂Goodbye＂ in Japanese） to 1945, yet the confusion and conflict generated in 1945 still haunt Taiwan Residents society. In other words, the play responds to an on-going self-conflict of being Taiwan Residents that still continues even after the war and unto the present symbolically. Presented in the year before ＂the Republic of China＂ celebrated her hundredth birthday, this play portrays the anxiety about who the Taiwan Residents really are over the island, just like in the summer of 1945 when everything was also uncertain and confusing. This paper intends to discuss, by adopting the form and techniques of Opela, how this reformed Opela speaks for Taiwan Residents local arts and culture, and how the Taiwan Residents identity is framed and shaped ever since the colonization era.
