Chapter

Ma Yongan—

Eugenio Barba

in The Soul of Beijing Opera

Published by Hong Kong University Press

Published in print May 2010 | ISBN: 9789622099944
Published online September 2011 | e-ISBN: 9789882207394 | DOI: http://dx.doi.org/10.5790/hongkong/9789622099944.003.0006
Ma Yongan—

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This chapter discusses the impact of Jiang Qing's “jingju revolution” on actors and on the genre. It elucidates how jingju's fundamental aesthetics were altered and how certain conventions of singing/speaking/movement and the colour pattern of the jing role's facial make-up were eliminated when contemporary costumes, Western musical instruments and composition, lighting, and scenery entered the revolutionary contemporary model theatre. It notes that this is perhaps the most peculiar phenomenon produced by the Great Proletarian Cultural Revolution (1966–76). It further notes that during this period, the entire traditional repertoire and the newly written historical plays (like Tang Sai'er) were abolished, while model theatre and a small number of its adherents, directly guided by Mao's wife Jiang Qing (1914–91), dominated the stage, broadcasting, and screen.

Keywords: Jiang Qing; actors; genre; aesthetics; contemporary model theatre; Cultural Revolution; Tang Sai'er; Mao

Chapter.  15205 words.  Illustrated.

Subjects: Society and Culture

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