From both historical and artistic points of view,Qinqiang Opera can be considered a significant genre outside the realms of Peking Opera and Kunqu Opera.The research on Qinqiang Opera has long been a focal point in th...From both historical and artistic points of view,Qinqiang Opera can be considered a significant genre outside the realms of Peking Opera and Kunqu Opera.The research on Qinqiang Opera has long been a focal point in the research on local operas with particular emphasis from a local perspective of the Yisu Art Troupe,a key and hot topic in the studies of Qinqiang Opera.Taking the Yisu Art Troupe as a case study to scrutinize and address the intricacies within the process of modernization of traditional Chinese opera proved to be beneficial.Since the 20th century,studies on the Yisu Art Troupe have evolved from scattered and impressionistic self-narratives into systematic and theoretical academic research.In the new century,scholars,such as Xin Xuefeng,Li Youjun,and Guo Hongjun,have been especially diligent with studies in this field.As Xin Xuefeng is relatively unknown due to his emphasis on traditional opera music,Li Youjun and Guo Hongjun have gradually emerged as important contemporary scholars in the study of the Yisu Art Troupe.Guo and Li not only further theorize the study of the Yisu Art Troupe but also conduct in-depth and meticulous studies on the nature of the Yisu Art Troupe,the establishment of the director-centered mode in Qinqiang Opera,the social function,and the playwriting of the Yisu Art Troupe by examining and reflecting it within the broader context of the modernization of traditional Chinese opera in the 20th century.展开更多
Chinese traditional opera often uses singing, acting, speaking and fighting as unique forms of artistic performance. In modern local operas, wushu, a Chinese martial art closely related to movements of attack and defe...Chinese traditional opera often uses singing, acting, speaking and fighting as unique forms of artistic performance. In modern local operas, wushu, a Chinese martial art closely related to movements of attack and defense as disciplines has been incorporated in theatrical performances to portray different moods of characters through exaggerated movements.展开更多
This study explores the controversy surrounding the translation of the name of a new cultural infrastructure in Hong Kong,specifically related to the cultural heritage of traditional Chinese theatre.The first performi...This study explores the controversy surrounding the translation of the name of a new cultural infrastructure in Hong Kong,specifically related to the cultural heritage of traditional Chinese theatre.The first performing arts landmark in Hong Kong's West Kowloon Cultural District was named the Xiqu Centre;the term xiqu is a Hanyu pinyin representing traditional Chinese theatre.Though this translation issue has been intensely debated for over a decade,it remains unexplored in the research.With reference to Venuti's translation strategies of foreignization and domestication,this study examines the Hong Kong public's views on the translation of the name of this cultural landmark and the underlying drivers of their perceptions.It uses internet-based surveys,semi-structured interviews with the public,and interviews with experts as data sources.The results revealed that factors of(1)aesthetics and artistry,(2)cultural identity,and(3)publicity and internationalization have contributed to public perception.This study^findings shed new light on how translation interacts with cultural,social,and political factors by examining how Hong Kong’s unique historical relationship with China and the West has played a role in this translation issue.The findings have significant implications for the translation of culture-bound elements and the transmission of cultural heritage in Hong Kong and worldwide.展开更多
基金funded by the National Social Science Fund of China’s project“Research on the Modernization Construction of Chinese Drama Theory in the 20th Century”(Approval Number:19BZW098)。
文摘From both historical and artistic points of view,Qinqiang Opera can be considered a significant genre outside the realms of Peking Opera and Kunqu Opera.The research on Qinqiang Opera has long been a focal point in the research on local operas with particular emphasis from a local perspective of the Yisu Art Troupe,a key and hot topic in the studies of Qinqiang Opera.Taking the Yisu Art Troupe as a case study to scrutinize and address the intricacies within the process of modernization of traditional Chinese opera proved to be beneficial.Since the 20th century,studies on the Yisu Art Troupe have evolved from scattered and impressionistic self-narratives into systematic and theoretical academic research.In the new century,scholars,such as Xin Xuefeng,Li Youjun,and Guo Hongjun,have been especially diligent with studies in this field.As Xin Xuefeng is relatively unknown due to his emphasis on traditional opera music,Li Youjun and Guo Hongjun have gradually emerged as important contemporary scholars in the study of the Yisu Art Troupe.Guo and Li not only further theorize the study of the Yisu Art Troupe but also conduct in-depth and meticulous studies on the nature of the Yisu Art Troupe,the establishment of the director-centered mode in Qinqiang Opera,the social function,and the playwriting of the Yisu Art Troupe by examining and reflecting it within the broader context of the modernization of traditional Chinese opera in the 20th century.
文摘Chinese traditional opera often uses singing, acting, speaking and fighting as unique forms of artistic performance. In modern local operas, wushu, a Chinese martial art closely related to movements of attack and defense as disciplines has been incorporated in theatrical performances to portray different moods of characters through exaggerated movements.
文摘This study explores the controversy surrounding the translation of the name of a new cultural infrastructure in Hong Kong,specifically related to the cultural heritage of traditional Chinese theatre.The first performing arts landmark in Hong Kong's West Kowloon Cultural District was named the Xiqu Centre;the term xiqu is a Hanyu pinyin representing traditional Chinese theatre.Though this translation issue has been intensely debated for over a decade,it remains unexplored in the research.With reference to Venuti's translation strategies of foreignization and domestication,this study examines the Hong Kong public's views on the translation of the name of this cultural landmark and the underlying drivers of their perceptions.It uses internet-based surveys,semi-structured interviews with the public,and interviews with experts as data sources.The results revealed that factors of(1)aesthetics and artistry,(2)cultural identity,and(3)publicity and internationalization have contributed to public perception.This study^findings shed new light on how translation interacts with cultural,social,and political factors by examining how Hong Kong’s unique historical relationship with China and the West has played a role in this translation issue.The findings have significant implications for the translation of culture-bound elements and the transmission of cultural heritage in Hong Kong and worldwide.
