Inscribing Jingju/Peking opera: textualization and performance, authorship and censorship of the "national drama" of China from the late Qing to the present
"What was the most influential mass medium in China before the internet? Jingju (Peking opera)! Although its actors were commonly thought to have been illiterate, written and other inscripted versions of plays became more and more important and varied. This book shows how increasing textualizat...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Leiden ; Boston
Brill
[2021]
|
| Schriftenreihe: | Studies in the history of Chinese texts
volume 12 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "What was the most influential mass medium in China before the internet? Jingju (Peking opera)! Although its actors were commonly thought to have been illiterate, written and other inscripted versions of plays became more and more important and varied. This book shows how increasing textualization and the resulting fixation of a performance tradition that once privileged improvisation changed the genre. It traces, from Jingju's birth in the 19th century to the present, how texts were used for the production and consumption of this important performance genre and the changes in the concepts of authorship, copyright, and performance rights that took place during the process. The state's desire to police what was performed is shown to have been a major factor in these changes. The scope and coverage of the book is already unprecedented, but it is also supplemented by an additional chapter (on where the plays were performed, who performed them, and who went to see them) available for download online." |
| Beschreibung: | XX, 797 Seiten 25 cm |
| ISBN: | 9789004461925 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents Preface IX Acknowledgments xix Introduction: What IsJingju, and Why Should We Care about It? і 1 Names, Names, Names і ід “National” Dramatic Forms before Jingju: Kunqu 5 1.2 Yabuvs. Huabu 9 1.3 Anhui Troupes in Beijing: Mixing Performance Styles 13 1.4 From Luantan to (Xipi pius Erhuang equals) Pihuang 16 1.5 Beijing andjingju 20 1.6 Old vs. New Plays, Beijing-Styk vs. Shanghai-Style 24 1.7 Becoming National Drama 26 1.8 Spreading Outfrom Beijing 30 1.9 Spreading to the Borders 40 1.10 A National Form? 42 1.11 Jingju Outside China/Outside Chinese 44 1.12 A National Drama? 50 2 Why Should We Care aboutJingju! 50 2.1 The Great Classroom: Theater and Education 51 2.2 Listening to Plays Is the Same as Reading Books 54 2.3 Representing China: Military and Political Leaders 56 2.4 Representing China: Cultural and Underworld Leaders 62 2.5 Everywhere You Look and Listen: Transmission through Old Media 65 2.6 Everywhere You Look and Listen: Transmission through New Media 73 2.7 A Nation ofJingju Fanatics 91 1 Jingju Repertoire(s) and Types of Plays and Playscripts 1 The Repertoire(s) 95 2 Types of Plays 123 3 Types of Playscripts 162 3.1 Manuscript Copies 165 3.2 Printed Copies 177 3.3 Play Format:D cvision into Scenes 187 3.4 Musical Notation 189 95
VI CONTENTS 3.5 3.6 3.7 Play Texts That Record Stage Movement in Detail (Chuantou, Paichang, Shenduan pu, etc.) 192 Textualization ofParts ofPlays 196 Competition, Innovation, Printing, and a Preliminary Look at the Question ofLibretto Fixity 201 2 Textualization and Authorship before Xikao (Research into Plays) 210 1 Authorship and Textualization of “Classical Chinese Indigenous Theater 213 2 Two Kinds of Early LiteratiJingju Playwrights and the Common Fate of Their Plays 226 3 Early “Ordinary” Actors as Playwrights 266 4 Literati Who Became Actors and Also Wrote Plays 280 5 Early Professional” Playwrights 288 3 The Production of a Mass-Market Collection ofJingju Playscripts: Xikao (Research into Plays) 293 1 The Publication History of Xikao 296 2 What Is Xikao? The Title(s) 315 3 What Is Xikao? Looking for the Master Plan 355 4 Who Put Xikao Together? 371 5 Where Did the Playscripts Come From? 392 6 The Photos 397 4 After Xikao: The Rise of Theater Studies, Copyright, and New Censorship Regimes 406 1 Evaluation of Xikao 406 2 New Approaches That Arose at Least Partially in Reaction to Xikao 421 2.1 The Rise qfXixue/Juxue 421 2.2 The Development ofStronger Conceptions of Copyright, Authorship, and Performance Rights 428 2.3 New Censorship Regimes 444 5 New Kinds of Playwrights 482 1 Chen Moxiang: The Most ProlificJingju Playwright of the Republican Era 482 2 Weng Ouhong: The Most Prolific/Famous/mg/w Playwright 3 Playwriting after Weng Ouhong 513 504
VII CONTENTS 6 New Kinds of Publication 524 1 Single Plays Published in Anthologies 530 2 Single Plays Published as Books 536 3 Single Plays Published in Periodicals 549 4 New Media and the Recording of Image, Movement, and Sound 565 5 Recording More Detail in Play Texts: Adding Graphic Elements and Photographs 568 6 New Recording Media and New Ways of Telling Plays (Shuoxi) 576 7 New Recording Media: dvd Bonus Features, Digitization, Hypertexts, and the Web 580 Epilogue: Living with Textual Fixity Appendix: List of Plays in Xikao Bibliography 622 Index 711 589 585
|
| adam_txt |
Contents Preface IX Acknowledgments xix Introduction: What IsJingju, and Why Should We Care about It? і 1 Names, Names, Names і ід “National” Dramatic Forms before Jingju: Kunqu 5 1.2 Yabuvs. Huabu 9 1.3 Anhui Troupes in Beijing: Mixing Performance Styles 13 1.4 From Luantan to (Xipi pius Erhuang equals) Pihuang 16 1.5 Beijing andjingju 20 1.6 Old vs. New Plays, Beijing-Styk vs. Shanghai-Style 24 1.7 Becoming National Drama 26 1.8 Spreading Outfrom Beijing 30 1.9 Spreading to the Borders 40 1.10 A National Form? 42 1.11 Jingju Outside China/Outside Chinese 44 1.12 A National Drama? 50 2 Why Should We Care aboutJingju! 50 2.1 The Great Classroom: Theater and Education 51 2.2 Listening to Plays Is the Same as Reading Books 54 2.3 Representing China: Military and Political Leaders 56 2.4 Representing China: Cultural and Underworld Leaders 62 2.5 Everywhere You Look and Listen: Transmission through Old Media 65 2.6 Everywhere You Look and Listen: Transmission through New Media 73 2.7 A Nation ofJingju Fanatics 91 1 Jingju Repertoire(s) and Types of Plays and Playscripts 1 The Repertoire(s) 95 2 Types of Plays 123 3 Types of Playscripts 162 3.1 Manuscript Copies 165 3.2 Printed Copies 177 3.3 Play Format:D'cvision into Scenes 187 3.4 Musical Notation 189 95
VI CONTENTS 3.5 3.6 3.7 Play Texts That Record Stage Movement in Detail (Chuantou, Paichang, Shenduan pu, etc.) 192 Textualization ofParts ofPlays 196 Competition, Innovation, Printing, and a Preliminary Look at the Question ofLibretto Fixity 201 2 Textualization and Authorship before Xikao (Research into Plays) 210 1 Authorship and Textualization of “Classical Chinese Indigenous Theater" 213 2 Two Kinds of Early LiteratiJingju Playwrights and the Common Fate of Their Plays 226 3 Early “Ordinary” Actors as Playwrights 266 4 Literati Who Became Actors and Also Wrote Plays 280 5 Early "Professional” Playwrights 288 3 The Production of a Mass-Market Collection ofJingju Playscripts: Xikao (Research into Plays) 293 1 The Publication History of Xikao 296 2 What Is Xikao? The Title(s) 315 3 What Is Xikao? Looking for the Master Plan 355 4 Who Put Xikao Together? 371 5 Where Did the Playscripts Come From? 392 6 The Photos 397 4 After Xikao: The Rise of Theater Studies, Copyright, and New Censorship Regimes 406 1 Evaluation of Xikao 406 2 New Approaches That Arose at Least Partially in Reaction to Xikao 421 2.1 The Rise qfXixue/Juxue 421 2.2 The Development ofStronger Conceptions of Copyright, Authorship, and Performance Rights 428 2.3 New Censorship Regimes 444 5 New Kinds of Playwrights 482 1 Chen Moxiang: The Most ProlificJingju Playwright of the Republican Era 482 2 Weng Ouhong: The Most Prolific/Famous/mg/w Playwright 3 Playwriting after Weng Ouhong 513 504
VII CONTENTS 6 New Kinds of Publication 524 1 Single Plays Published in Anthologies 530 2 Single Plays Published as Books 536 3 Single Plays Published in Periodicals 549 4 New Media and the Recording of Image, Movement, and Sound 565 5 Recording More Detail in Play Texts: Adding Graphic Elements and Photographs 568 6 New Recording Media and New Ways of Telling Plays (Shuoxi) 576 7 New Recording Media: dvd Bonus Features, Digitization, Hypertexts, and the Web 580 Epilogue: Living with Textual Fixity Appendix: List of Plays in Xikao Bibliography 622 Index 711 589 585 |
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| spelling | Rolston, David L. 1952- Verfasser (DE-588)172337720 aut Inscribing Jingju/Peking opera textualization and performance, authorship and censorship of the "national drama" of China from the late Qing to the present by David L. Rolston Leiden ; Boston Brill [2021] © 2021 XX, 797 Seiten 25 cm txt rdacontent n rdamedia nc rdacarrier Studies in the history of Chinese texts volume 12 "What was the most influential mass medium in China before the internet? Jingju (Peking opera)! Although its actors were commonly thought to have been illiterate, written and other inscripted versions of plays became more and more important and varied. This book shows how increasing textualization and the resulting fixation of a performance tradition that once privileged improvisation changed the genre. It traces, from Jingju's birth in the 19th century to the present, how texts were used for the production and consumption of this important performance genre and the changes in the concepts of authorship, copyright, and performance rights that took place during the process. The state's desire to police what was performed is shown to have been a major factor in these changes. The scope and coverage of the book is already unprecedented, but it is also supplemented by an additional chapter (on where the plays were performed, who performed them, and who went to see them) available for download online." Geschichte 1860- gnd rswk-swf Peking-Oper (DE-588)4173610-2 gnd rswk-swf Operas, Chinese / China / Beijing / History and criticism Operas, Chinese China / Beijing Criticism, interpretation, etc Peking-Oper (DE-588)4173610-2 s Geschichte 1860- z DE-604 Erscheint auch als Online-Ausgabe 978-90-04-46339-4 Studies in the history of Chinese texts volume 12 (DE-604)BV035961693 12 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032837361&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Rolston, David L. 1952- Inscribing Jingju/Peking opera textualization and performance, authorship and censorship of the "national drama" of China from the late Qing to the present Studies in the history of Chinese texts Peking-Oper (DE-588)4173610-2 gnd |
| subject_GND | (DE-588)4173610-2 |
| title | Inscribing Jingju/Peking opera textualization and performance, authorship and censorship of the "national drama" of China from the late Qing to the present |
| title_auth | Inscribing Jingju/Peking opera textualization and performance, authorship and censorship of the "national drama" of China from the late Qing to the present |
| title_exact_search | Inscribing Jingju/Peking opera textualization and performance, authorship and censorship of the "national drama" of China from the late Qing to the present |
| title_exact_search_txtP | Inscribing Jingju/Peking opera textualization and performance, authorship and censorship of the "national drama" of China from the late Qing to the present |
| title_full | Inscribing Jingju/Peking opera textualization and performance, authorship and censorship of the "national drama" of China from the late Qing to the present by David L. Rolston |
| title_fullStr | Inscribing Jingju/Peking opera textualization and performance, authorship and censorship of the "national drama" of China from the late Qing to the present by David L. Rolston |
| title_full_unstemmed | Inscribing Jingju/Peking opera textualization and performance, authorship and censorship of the "national drama" of China from the late Qing to the present by David L. Rolston |
| title_short | Inscribing Jingju/Peking opera |
| title_sort | inscribing jingju peking opera textualization and performance authorship and censorship of the national drama of china from the late qing to the present |
| title_sub | textualization and performance, authorship and censorship of the "national drama" of China from the late Qing to the present |
| topic | Peking-Oper (DE-588)4173610-2 gnd |
| topic_facet | Peking-Oper |
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