Three short performances from three regional operas present an eccentric comic image of Chenghuang城隍(City God).This serious and formidable god is performed by the role of chou丑(clown),and the role’s physical art s...Three short performances from three regional operas present an eccentric comic image of Chenghuang城隍(City God).This serious and formidable god is performed by the role of chou丑(clown),and the role’s physical art shatters the audience’s perception of this god’s traditional image.The role’s exaggerated and awkward body also results in a performance-centered structure in which negative aspects of human nature are vividly portrayed.The eccentric representation brings laughter,but the laughter is also fully charged with Confucian concepts of goodness,righteousness,justice,and tianli天理(the way of heaven).Turning a divine image into a hilarious one is an unconventional manner and also a peculiar tactic of these performers.Through this tactic,these performers not only hide their subtle criticism of the reality and the authority to survive censorship but also disseminate successfully traditional values and folk religious beliefs.This tactic indicates the cultural function of the theater and demonstrates how traditions can remain valid and functional through a force that arises from the interaction between Confucianism,folk religious beliefs,and performance.展开更多
Almost 600 years old, it is a most important Taoist temple in Shanghai, built in the Ming Dynasty （1368-1644）. Made up of nine halls that feature giant statues of immortals, the temple sees a steady stream of worshi...Almost 600 years old, it is a most important Taoist temple in Shanghai, built in the Ming Dynasty （1368-1644）. Made up of nine halls that feature giant statues of immortals, the temple sees a steady stream of worshippers daily praying for fortune and peace and is always enveloped in blue incense smoke. Enshrined inside are the City God Qin Yubo and General Huoguang, and the temple is staffed by resident Taoist priests. Despite its many visitors the shrine exudes an air of peace and tranquility.展开更多
文摘Three short performances from three regional operas present an eccentric comic image of Chenghuang城隍(City God).This serious and formidable god is performed by the role of chou丑(clown),and the role’s physical art shatters the audience’s perception of this god’s traditional image.The role’s exaggerated and awkward body also results in a performance-centered structure in which negative aspects of human nature are vividly portrayed.The eccentric representation brings laughter,but the laughter is also fully charged with Confucian concepts of goodness,righteousness,justice,and tianli天理(the way of heaven).Turning a divine image into a hilarious one is an unconventional manner and also a peculiar tactic of these performers.Through this tactic,these performers not only hide their subtle criticism of the reality and the authority to survive censorship but also disseminate successfully traditional values and folk religious beliefs.This tactic indicates the cultural function of the theater and demonstrates how traditions can remain valid and functional through a force that arises from the interaction between Confucianism,folk religious beliefs,and performance.
文摘Almost 600 years old, it is a most important Taoist temple in Shanghai, built in the Ming Dynasty （1368-1644）. Made up of nine halls that feature giant statues of immortals, the temple sees a steady stream of worshippers daily praying for fortune and peace and is always enveloped in blue incense smoke. Enshrined inside are the City God Qin Yubo and General Huoguang, and the temple is staffed by resident Taoist priests. Despite its many visitors the shrine exudes an air of peace and tranquility.
