Pub Date : 2016-07-02DOI: 10.1080/01937774.2016.1242821
Tobie S. Meyer-Fong
{"title":"Yangzhou: A Place in Literature, The Local in Chinese Cultural History","authors":"Tobie S. Meyer-Fong","doi":"10.1080/01937774.2016.1242821","DOIUrl":"https://doi.org/10.1080/01937774.2016.1242821","url":null,"abstract":"","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84040939","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/01937774.2016.1183315
D. Lin
Heluo dagu is a genre of narrative drumsinging that emerged in the early twentieth century in Henan Province. There has been a lack of studies on how long stories of this genre are produced, adapted to suit specific delivery styles, and transmitted through generations of performers. To document the recent and present status of the oral literature performed in this genre, the authors of Heluo dagu chuantong dashu xuan (Selected Traditional Grand Stories from Heluo Drumsinging) transcribed and edited the full text and selected musical passages from five dashu (grand stories). This article describes the transmission of the genre, introduces the rationale of transcribing live performances that the authors collected through fieldwork, and discusses the methodology used in the book. It concludes with a look at the question of the dynamics between living and fixed texts in this tradition.
{"title":"Heluo dagu chuantong dashu xuan (Selected Traditional Grand Stories from Heluo Drumsinging): An Attempt to Negotiate between the Fixed and Plastic Aspects of Chinese Traditional Narrative Oral Literature","authors":"D. Lin","doi":"10.1080/01937774.2016.1183315","DOIUrl":"https://doi.org/10.1080/01937774.2016.1183315","url":null,"abstract":"Heluo dagu is a genre of narrative drumsinging that emerged in the early twentieth century in Henan Province. There has been a lack of studies on how long stories of this genre are produced, adapted to suit specific delivery styles, and transmitted through generations of performers. To document the recent and present status of the oral literature performed in this genre, the authors of Heluo dagu chuantong dashu xuan (Selected Traditional Grand Stories from Heluo Drumsinging) transcribed and edited the full text and selected musical passages from five dashu (grand stories). This article describes the transmission of the genre, introduces the rationale of transcribing live performances that the authors collected through fieldwork, and discusses the methodology used in the book. It concludes with a look at the question of the dynamics between living and fixed texts in this tradition.","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91054668","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/01937774.2016.1242739
J. Risum
There are two interesting female exceptions to the all-male chorus reviewing the Chinese performer of female roles Mei Lanfang and his troupe in the local newspapers during Mei's Soviet tour in the spring of 1935. One is the well-established Russian writer Marietta Shaginyan (1888–1982), whose review was published in the foremost party organ, Pravda. The other is the exiled German actress Carola Neher (1900–1942), whose review could be read in the small Moscow-based newspaper for German-speaking residents, Deutsche Zentral-Zeitung. Both women only reviewed Mei this once. A comparison of their reactions as female artists to the same event is doubly interesting because they react to it in politically incompatible ways. Shaginyan follows the Soviet party line of the time, in contrast to Neher's more cosmopolitan point of view. I begin with Neher so as to throw Shaginyan into greater relief, and to uncover why Neher's expert professional analysis has so far been unduly and sadly neglected. To further set off their contrasting views of Mei Lanfang and Chinese theatre, I compare these to the more well-known viewpoints of Sergei Tretyakov and Bertolt Brecht.
{"title":"Press Reviews of Mei Lanfang in the Soviet Union, 1935, by Female Writers: Neher Versus Shaginyan","authors":"J. Risum","doi":"10.1080/01937774.2016.1242739","DOIUrl":"https://doi.org/10.1080/01937774.2016.1242739","url":null,"abstract":"There are two interesting female exceptions to the all-male chorus reviewing the Chinese performer of female roles Mei Lanfang and his troupe in the local newspapers during Mei's Soviet tour in the spring of 1935. One is the well-established Russian writer Marietta Shaginyan (1888–1982), whose review was published in the foremost party organ, Pravda. The other is the exiled German actress Carola Neher (1900–1942), whose review could be read in the small Moscow-based newspaper for German-speaking residents, Deutsche Zentral-Zeitung. Both women only reviewed Mei this once. A comparison of their reactions as female artists to the same event is doubly interesting because they react to it in politically incompatible ways. Shaginyan follows the Soviet party line of the time, in contrast to Neher's more cosmopolitan point of view. I begin with Neher so as to throw Shaginyan into greater relief, and to uncover why Neher's expert professional analysis has so far been unduly and sadly neglected. To further set off their contrasting views of Mei Lanfang and Chinese theatre, I compare these to the more well-known viewpoints of Sergei Tretyakov and Bertolt Brecht.","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85080227","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/01937774.2016.1183319
Rostislav Berezkin
fruits, flowers, pets, and food. He ends with a wish for the eradication of all mosquitoes. It is hard to predict how this bookmight be used. Clearly the editors intend for it for the classroom market. But in what types of courses might it be assigned as a whole? Will it inspire new courses onYangzhou literature or history? Thanks to the Yangzhou Club and its affiliates, there is actually now enough primary and secondarymaterial in English for sucha class. Butwould students signup for a semester onwhat is to theman almost totally unknown city? Perhaps a Suzhou-Yangzhou-Shanghai course? Or Literary Cities of Late Imperial China? Or will this volume be disaggregated for selective use in courses on gardens, material culture, urban life, and performing arts—or for courses reflecting on the complex interactions between local and national, oral and written, elite and popular? In any event, infused with nostalgia and affection for its subject city, this collection makes a useful contribution and is also a pleasure to read. Perhaps the reputational heft of the assembled translators and texts will contribute to the renewal of Yangzhou’s status and fame?
{"title":"Zhongguo baojuan shengtaihua baohu yu chuancheng jiaoliu yantao hui lunwen ji 中國寶卷生態化保護與傳承交流研討會論文集 (Collected articles from a conference on the ecological preservation and transmission of baojuan in China)","authors":"Rostislav Berezkin","doi":"10.1080/01937774.2016.1183319","DOIUrl":"https://doi.org/10.1080/01937774.2016.1183319","url":null,"abstract":"fruits, flowers, pets, and food. He ends with a wish for the eradication of all mosquitoes. It is hard to predict how this bookmight be used. Clearly the editors intend for it for the classroom market. But in what types of courses might it be assigned as a whole? Will it inspire new courses onYangzhou literature or history? Thanks to the Yangzhou Club and its affiliates, there is actually now enough primary and secondarymaterial in English for sucha class. Butwould students signup for a semester onwhat is to theman almost totally unknown city? Perhaps a Suzhou-Yangzhou-Shanghai course? Or Literary Cities of Late Imperial China? Or will this volume be disaggregated for selective use in courses on gardens, material culture, urban life, and performing arts—or for courses reflecting on the complex interactions between local and national, oral and written, elite and popular? In any event, infused with nostalgia and affection for its subject city, this collection makes a useful contribution and is also a pleasure to read. Perhaps the reputational heft of the assembled translators and texts will contribute to the renewal of Yangzhou’s status and fame?","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90680849","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/01937774.2016.1183320
Mei Chun
{"title":"Worldly Stage: Theatricality in Seventeenth-Century China","authors":"Mei Chun","doi":"10.1080/01937774.2016.1183320","DOIUrl":"https://doi.org/10.1080/01937774.2016.1183320","url":null,"abstract":"","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87667551","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/01937774.2016.1242835
Kim Hunter Gordon
At the core of the project that is the subject of this review, hereafter referred to as Dashi shuoxi, is a set of 110 video lectures, each between one and two hours long, by 29 “master” performers of Kunqu 崑曲, most of whom were aged around 70 at the time of recording. While Kunqu once denoted a style of music and singing, it also has come to refer to stage performance that makes use of that musical style. Theater sung to Kunqu was dominant into the 19th century and has returned to a level of prominence since it was listed as “a masterpiece of the oral and intangible heritage of humanity” by UNESCO in 2001. Dashi shuoxi is not the first project to attempt to document how Kunqu is, was, or “should be” performed, but it is certainly the most ambitious, both in terms of scale and its (problematic) attempt to present a definitive Kunqu repertoire within a highly systematized framework. For the researcher, it contains valuable information on the recent transmission histories
{"title":"Kunqu baizhong, Dashi shuoxi (One hundred pieces of Kunqu, Master performers talk about their scenes): A Review Essay","authors":"Kim Hunter Gordon","doi":"10.1080/01937774.2016.1242835","DOIUrl":"https://doi.org/10.1080/01937774.2016.1242835","url":null,"abstract":"At the core of the project that is the subject of this review, hereafter referred to as Dashi shuoxi, is a set of 110 video lectures, each between one and two hours long, by 29 “master” performers of Kunqu 崑曲, most of whom were aged around 70 at the time of recording. While Kunqu once denoted a style of music and singing, it also has come to refer to stage performance that makes use of that musical style. Theater sung to Kunqu was dominant into the 19th century and has returned to a level of prominence since it was listed as “a masterpiece of the oral and intangible heritage of humanity” by UNESCO in 2001. Dashi shuoxi is not the first project to attempt to document how Kunqu is, was, or “should be” performed, but it is certainly the most ambitious, both in terms of scale and its (problematic) attempt to present a definitive Kunqu repertoire within a highly systematized framework. For the researcher, it contains valuable information on the recent transmission histories","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01937774.2016.1242835","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59204773","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-01-02DOI: 10.1080/01937774.2016.1183329
Josh Stenberg
A consistent forum for the presentation of xiqu戲曲 (Chinese indigenous theater) in “little theatre” (xiaojuchang小劇場) form (translated as “experimental” on all promotional material for the Shanghai festival) is overdue. Pretty much the entirety of the xiqu world is in agreement that xiqu arts and audiences have long been in crisis. There is perhaps an element of ideological determinism in this narrative— on-its-last-legs is a default story for tradition anywhere—but there can be no doubt that troupes face a rapidly-changing policy environment and pressure to experiment and modernize. How they should do this, and where the bounds of such reforms should be set, are questions which continue to drive the work of xiqu practitioners, and their interaction with spoken theater and foreign artists. “Little theatre,” a term usually associated with Taiwanese spoken theater and lately with non-official PRC spoken theater (huaju 話劇) performance, is one option for xiqu troupes, especially given the bloatedness and complacency of many gala xiqu productions. To date, for two years running, festivals of “little theatre” xiqu plays lasting at least a month that involved at least 12 plays and fifty performances have been held in Beijing. The festival under review, whose Chinese title was Xiqu huxi: 2015 Shanghai xiaojuchang xiqu jie 戲曲呼吸: 2015 上海小劇場戲曲節 (Let Chinese indigenous theater breathe: The 2015 Shanghai small theater Chinese indigenous theater festival) was smaller (six plays and seven performances) and shorter in length (only a week). Plans are in the works for the 2016 edition.
{"title":"Performance Review: The 2015 Inaugural Shanghai Experimental Xiqu (Chinese Indigenous Theater) Festival, December 1–6","authors":"Josh Stenberg","doi":"10.1080/01937774.2016.1183329","DOIUrl":"https://doi.org/10.1080/01937774.2016.1183329","url":null,"abstract":"A consistent forum for the presentation of xiqu戲曲 (Chinese indigenous theater) in “little theatre” (xiaojuchang小劇場) form (translated as “experimental” on all promotional material for the Shanghai festival) is overdue. Pretty much the entirety of the xiqu world is in agreement that xiqu arts and audiences have long been in crisis. There is perhaps an element of ideological determinism in this narrative— on-its-last-legs is a default story for tradition anywhere—but there can be no doubt that troupes face a rapidly-changing policy environment and pressure to experiment and modernize. How they should do this, and where the bounds of such reforms should be set, are questions which continue to drive the work of xiqu practitioners, and their interaction with spoken theater and foreign artists. “Little theatre,” a term usually associated with Taiwanese spoken theater and lately with non-official PRC spoken theater (huaju 話劇) performance, is one option for xiqu troupes, especially given the bloatedness and complacency of many gala xiqu productions. To date, for two years running, festivals of “little theatre” xiqu plays lasting at least a month that involved at least 12 plays and fifty performances have been held in Beijing. The festival under review, whose Chinese title was Xiqu huxi: 2015 Shanghai xiaojuchang xiqu jie 戲曲呼吸: 2015 上海小劇場戲曲節 (Let Chinese indigenous theater breathe: The 2015 Shanghai small theater Chinese indigenous theater festival) was smaller (six plays and seven performances) and shorter in length (only a week). Plans are in the works for the 2016 edition.","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80472020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-01-02DOI: 10.1080/01937774.2016.1183317
Xiaosu Sun
In the Tang dynasty Dunhuang transformation text (bianwen) about Mulian rescuing his mother from the underworld, Madame Liu Qingti, mother of the filial monk Mulian, is allowed to ascend to the Trāyastriṃśa Heaven once her sins have been purged. A similar happy ending is found in the most widespread versions of the legend. However, in many baojuan (precious scrolls) from the late imperial period and the modern era, Qingti is depicted as an inveterate sinner who continues to misbehave when reborn as a dog. For example, in the baojuan about Mulian used nowadays in Changshu, southern Jiangsu province, in a ritual to expel evil spirits and ensure a successful pregnancy, Qingti appears as the Heavenly Dog—a malign, infant-eating star spirit capable of causing miscarriage or neonatal death. This paper combines fieldwork on a ritual to expel the Heavenly Dog in Changshu and textual analysis to explore the ways in which Liu Qingti has been recast in baojuan literature. I consider, in particular, the motif of Qingti's unenlightened soul, and its relation to her ritual career as the Heavenly Dog in baojuan recitation. Special attention is paid to the different ritual contexts of such rituals.
{"title":"Liu Qingti's Canine Rebirth and Her Ritual Career as the Heavenly Dog: Recasting Mulian's Mother in Baojuan (Precious Scrolls) Recitation","authors":"Xiaosu Sun","doi":"10.1080/01937774.2016.1183317","DOIUrl":"https://doi.org/10.1080/01937774.2016.1183317","url":null,"abstract":"In the Tang dynasty Dunhuang transformation text (bianwen) about Mulian rescuing his mother from the underworld, Madame Liu Qingti, mother of the filial monk Mulian, is allowed to ascend to the Trāyastriṃśa Heaven once her sins have been purged. A similar happy ending is found in the most widespread versions of the legend. However, in many baojuan (precious scrolls) from the late imperial period and the modern era, Qingti is depicted as an inveterate sinner who continues to misbehave when reborn as a dog. For example, in the baojuan about Mulian used nowadays in Changshu, southern Jiangsu province, in a ritual to expel evil spirits and ensure a successful pregnancy, Qingti appears as the Heavenly Dog—a malign, infant-eating star spirit capable of causing miscarriage or neonatal death. This paper combines fieldwork on a ritual to expel the Heavenly Dog in Changshu and textual analysis to explore the ways in which Liu Qingti has been recast in baojuan literature. I consider, in particular, the motif of Qingti's unenlightened soul, and its relation to her ritual career as the Heavenly Dog in baojuan recitation. Special attention is paid to the different ritual contexts of such rituals.","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84789665","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-01-02DOI: 10.1080/01937774.2016.1183328
Jing Shen
In the summer of 2014 I had the chance to see performances of two spoken drama (huaju 話劇) comedies in Beijing: Zhao ge laopo xian yaohao 找個老婆先搖號 (To find a wife, first draw lots), staged by Leizile Xiaogongchang 雷子樂笑工廠 (Leizile laugh factory; a.k.a. Alan’s Studio), and Yangtai 陽台 (Balcony), staged by DaDao Wenhua大道文化 (DaDao culture). Although the two plays used different types of stagecraft and actors, they both investigate similar social issues in contemporary China at the same time that they provide entertainment. Zhao ge laopo xian yaohao can be read as an irreverent parody of Lao She’s老舍 (1899–1966) Beijing-flavored classic Luotuo Xiangzi駱駝祥子 (Rickshaw Boy). In the play a migrant worker named Bei Shangguang 北上廣, riding a bicycle absentmindedly, runs into a car driven by a huge Beijing girl, Gong Linna 宫臨娜. She develops a crush on this migrant worker at first sight, although he is not interested in her at all. As if destined, they encounter again in a library in which he is hiding from his fiancée’s family, and meet a third time yet when they happen to sit next
{"title":"Performance Review: Two Beijing Spoken Drama Comedies Featuring Social Critique Seen in the Summer of 2014","authors":"Jing Shen","doi":"10.1080/01937774.2016.1183328","DOIUrl":"https://doi.org/10.1080/01937774.2016.1183328","url":null,"abstract":"In the summer of 2014 I had the chance to see performances of two spoken drama (huaju 話劇) comedies in Beijing: Zhao ge laopo xian yaohao 找個老婆先搖號 (To find a wife, first draw lots), staged by Leizile Xiaogongchang 雷子樂笑工廠 (Leizile laugh factory; a.k.a. Alan’s Studio), and Yangtai 陽台 (Balcony), staged by DaDao Wenhua大道文化 (DaDao culture). Although the two plays used different types of stagecraft and actors, they both investigate similar social issues in contemporary China at the same time that they provide entertainment. Zhao ge laopo xian yaohao can be read as an irreverent parody of Lao She’s老舍 (1899–1966) Beijing-flavored classic Luotuo Xiangzi駱駝祥子 (Rickshaw Boy). In the play a migrant worker named Bei Shangguang 北上廣, riding a bicycle absentmindedly, runs into a car driven by a huge Beijing girl, Gong Linna 宫臨娜. She develops a crush on this migrant worker at first sight, although he is not interested in her at all. As if destined, they encounter again in a library in which he is hiding from his fiancée’s family, and meet a third time yet when they happen to sit next","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78289727","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-01-02DOI: 10.1080/01937774.2016.1183322
Josh Stenberg
{"title":"La réforme de l'opéra de Pékin","authors":"Josh Stenberg","doi":"10.1080/01937774.2016.1183322","DOIUrl":"https://doi.org/10.1080/01937774.2016.1183322","url":null,"abstract":"","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88954815","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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