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Understanding CCI through Chinese Theatre
This book examines the development of Cultural and Creative Industries (CCI) in China through the angle of Chinese Theatre, xiqu. It focuses on the political and socio-economic transition period at the turn of the 21st century, as China evolves from ‘Made in China’ to ‘Created in China’, highlighting associated class reconstruction and cultural production and consumption. There are many forms of Chinese Theatre, the most popular one throughout Chinese history to date is the sing-song drama, collectively refers to as xiqu, which currently has over 300 regional styles across China. In 2014, President Xi Jinping’s Beijing Talk on Arts and Literature, which serves as China’s latest Chinese Communist Party (CCP) ideological direction and cultural policy, stressed that ‘the future of Chinese cultural and creative industries is to be anchored on traditional art forms, such as xiqu’. Such Chinese cultural and creative industry distinction will be addressed in this book.
Urban Politics and Cultural Capital
This book tells the story of how a regional Chinese theatrical form, Shanghai Yue Opera, evolved from the all-male ’beggar’s song’ of the early twentieth century to become the largest all-female opera form in the nation, only to face increasing pressure to survive under Chinese political and economic reforms in the new millennium. Previous publications have focused mainly on the historical development of Chinese theatre, with emphasis placed on Beijing opera. This is the first book to take an interdisciplinary approach to the story of the Shanghai Yue Opera, bringing history, arts management, central and regional government policy, urbanisation, gender, media, and theatre artistic development in one. Through the story of the Shanghai Yue Opera House market reform this book facilitates an understanding of the complex Chinese political economic situation in post-socialist China. This book suggests that as state art institutions are key organs of the Communist party gaining legitimacy, the vigorous evolution and struggle of the Shanghai Yue Opera house in fact directly mirrors the Communist Party internal turmoil in the new millennium to gain its own legitimacy and survival.
Sex & Taipei City
"In these tales of love, lust and relationships gone awry, Yun-Han Chao portrays a city and culture of secret desires, hidden passions, and endless regret." — Home Planet News Sex in Taipei City is not what one expects: it is repressed, traded for cash, vengeful, sometimes awkward and almost always secretive. In Sex & Taipei City, a diverse cast of characters finds relationships more trouble than they bargained for. Some are young and innocent: a teenager loses her virginity to a Ching Dynasty torture device in her family's Strange Objects Museum. Some are far from innocent: a schoolgirl sells her body as an odd form of revenge and a grandfather alienates his family by watching Japanese po...
Kunqu Masters on Chinese Theatrical Performance
Kunqu, recognized by UNESCO in 2001 as part of the Intangible Cultural Heritage of Humanity, is among the oldest and most refined traditions of the family of genres known as xiqu (music-drama or “Chinese opera”). Today, the art form’s musical and performance traditions are being passed on by senior artists. This book consists of twelve explanatory narrations in English, selected and translated from among an expansive collective endeavour in Chinese. Each performer narration sheds light on the human processes that create and transmit celebrated pieces of theatre. Annotations place these narratives in historical, literary, discursive, and aesthetic contexts. Close critical attention reveals kunqu as a living and changing art form. Methodologically, this work breaks new ground by centering the performers’ perspective rather than the text, providing a complement and a challenge to performance analysis, and ideological, sociological, or plot-based perspectives on xiqu.
Economy of Identities in Traditional Chinese Theatre
The book is intended to become a useful reference for theatre people who need “China knowledge”. Its central questions are: how is traditional Chinese theatre (“Chinese opera”, i.e. xiqu) embedded in contemporary Chinese society? What identities are created through theatre? And, most importantly: how are these identities related to one another to form a complex “economy of identities”? An insight is offered into the traditional Chinese theatre system composed of over three hundred theatre types vying for recognition in a complex relational network. Understanding how this “relationality” works might also shed light on the functioning of other fields in the current socio-cultural complex of China.
Kenya National Assembly Official Record (Hansard)
The official records of the proceedings of the Legislative Council of the Colony and Protectorate of Kenya, the House of Representatives of the Government of Kenya and the National Assembly of the Republic of Kenya.
Kenya National Assembly Official Record (Hansard)
The official records of the proceedings of the Legislative Council of the Colony and Protectorate of Kenya, the House of Representatives of the Government of Kenya and the National Assembly of the Republic of Kenya.
Kenya National Assembly Official Record (Hansard)
The official records of the proceedings of the Legislative Council of the Colony and Protectorate of Kenya, the House of Representatives of the Government of Kenya and the National Assembly of the Republic of Kenya.
Index Veterinarius
None
Women of China
None
