Pub Date : 2023-09-01DOI: 10.1353/atj.2023.a912921
Priscilla Tse
Abstract:While scholarly attention on nationalism of recent Hong Kong sheds light mostly on social movements, social media, and cinema, the performative role of yueju (Cantonese opera), as a Chinese vernacular theatre, in post-1997 Hong Kong is often neglected. This case study examines how different ideologies, political consciousness, and cultural ideals come into conflict and are mediated within the Cantonese opera circle since the 2014 Umbrella Movement. By investigating both the top-down and bottom-up approaches of propaganda as well as the potential of performing the opera as pro-democracy activism, this essay interrogates the dynamics between the hegemonic Chinese nationalism and the rising political consciousness of seeing Hong Kong as a separate entity.
{"title":"“One Opera, Two Nationalisms”: Negotiating Hong Kong Identity and Chinese Nationalism in Cantonese Opera","authors":"Priscilla Tse","doi":"10.1353/atj.2023.a912921","DOIUrl":"https://doi.org/10.1353/atj.2023.a912921","url":null,"abstract":"Abstract:While scholarly attention on nationalism of recent Hong Kong sheds light mostly on social movements, social media, and cinema, the performative role of yueju (Cantonese opera), as a Chinese vernacular theatre, in post-1997 Hong Kong is often neglected. This case study examines how different ideologies, political consciousness, and cultural ideals come into conflict and are mediated within the Cantonese opera circle since the 2014 Umbrella Movement. By investigating both the top-down and bottom-up approaches of propaganda as well as the potential of performing the opera as pro-democracy activism, this essay interrogates the dynamics between the hegemonic Chinese nationalism and the rising political consciousness of seeing Hong Kong as a separate entity.","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139344746","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.1353/atj.2023.a912922
Zhixuan Zhu
Abstract:This article explores the theatricality of the works of Bai Wei 白薇 (1894–1987), one of the most prolific women playwrights in early twentieth century China. Her play scripts garnered huge popularity and were frequently reprinted, but were rarely staged. Due to the lack of staging opportunities, their unconventional modernist style, and the paucity of production records, these scripts have been largely deemed unproducible and low in theatricality by scholars and critics both now and then. Through a detailed production analysis of three aspects of Bai’s plays (acting, set design, and stage effects), I argue that Bai’s rarely staged scripts are embedded with rich theatrical intentions and implications. The correlation between the number of staging records and the plays’ intrinsic theatrical value is completely arbitrary, and Bai’s scripts envision a modernist theatre with artistic potentials ahead of her time.
{"title":"Modernist Visions Beyond the Horizon of History: The Theatricality of Bai Wei’s Rarely Staged Plays","authors":"Zhixuan Zhu","doi":"10.1353/atj.2023.a912922","DOIUrl":"https://doi.org/10.1353/atj.2023.a912922","url":null,"abstract":"Abstract:This article explores the theatricality of the works of Bai Wei 白薇 (1894–1987), one of the most prolific women playwrights in early twentieth century China. Her play scripts garnered huge popularity and were frequently reprinted, but were rarely staged. Due to the lack of staging opportunities, their unconventional modernist style, and the paucity of production records, these scripts have been largely deemed unproducible and low in theatricality by scholars and critics both now and then. Through a detailed production analysis of three aspects of Bai’s plays (acting, set design, and stage effects), I argue that Bai’s rarely staged scripts are embedded with rich theatrical intentions and implications. The correlation between the number of staging records and the plays’ intrinsic theatrical value is completely arbitrary, and Bai’s scripts envision a modernist theatre with artistic potentials ahead of her time.","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139343454","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.1353/atj.2023.a912923
Sang Mi Park
{"title":"Haha (My Mother) by Myrtle Arts (review)","authors":"Sang Mi Park","doi":"10.1353/atj.2023.a912923","DOIUrl":"https://doi.org/10.1353/atj.2023.a912923","url":null,"abstract":"","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139347047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.1353/atj.2023.a912925
Ke Meng
{"title":"Chinese Traditional Theatre and Male Dan: Social Power, Cultural Change and Gender Relations by Chao Guo (review)","authors":"Ke Meng","doi":"10.1353/atj.2023.a912925","DOIUrl":"https://doi.org/10.1353/atj.2023.a912925","url":null,"abstract":"","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139345276","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.1353/atj.2023.a912926
Zhen Cheng
{"title":"Contemporary Chinese Queer Performance by Hongwei Bao (review)","authors":"Zhen Cheng","doi":"10.1353/atj.2023.a912926","DOIUrl":"https://doi.org/10.1353/atj.2023.a912926","url":null,"abstract":"","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139345677","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.1353/atj.2023.a912924
Hanyang Jiang
{"title":"Selected Plays of Stan Lai by Stan Lai (review)","authors":"Hanyang Jiang","doi":"10.1353/atj.2023.a912924","DOIUrl":"https://doi.org/10.1353/atj.2023.a912924","url":null,"abstract":"","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139346768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Jana Sanskriti: Performance as a New Politics by Ralph Yarrow","authors":"","doi":"10.1353/atj.2023.0014","DOIUrl":"https://doi.org/10.1353/atj.2023.0014","url":null,"abstract":"","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84382092","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Missing Piece of the Collage: The Stage Practice in the National Theatre Movement","authors":"Barbara Jiawei Li","doi":"10.1353/atj.2023.0004","DOIUrl":"https://doi.org/10.1353/atj.2023.0004","url":null,"abstract":"","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84474844","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Chinese Adaptations of Brecht: Appropriation and Intertextuality by Wei Zhang","authors":"","doi":"10.1353/atj.2023.0011","DOIUrl":"https://doi.org/10.1353/atj.2023.0011","url":null,"abstract":"","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83260763","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
From the Editor Siyuan Liu This issue starts with two long-planned articles in ATJ’s “founders of the field” series that started with two clusters of articles in 2011 (28.2) and 2013 (30.2), followed by a number of “founding mothers” articles between 2014 and 2017 (31.1, 32.2, 33.2, 34.1), continuing in this issue with Carol Fisher Sorgenfrei’s profile of Betty Bernhard and Julie Iezzi’s article on Jonah Salz. Sorgenfrei focuses on Bernard’s extraordinary capacity in discovering and promoting aspects of Indian performance to the world through fundraising and sponsoring international engagements by India artists, students training and productions of India plays with Indian artists at Pomona College, as well as several research-based films and videos, all of which made Bernard, as Sorgenfrei puts it, “an important influencer well before that concept became a social media meme.” The second “founder” article, written by Julie Iezzi, focuses on Jonah Salz, who stands out, in comparison to other founders profiled in this series, as a Western theatre director, producer, teacher, scholar, and translator primarily based in an Asian country, in his case Kyoto, Japan. Among Salz’s wide-ranging accomplishments, Iezzi focuses on his co-founded Noho Theatre Group that has produced hundreds of shows and toured internationally over forty years; his co-established Traditional Theatre Training (TTT) program that since 1984 has trained hundreds of artists in noh, kyōgen, and nihon buyō; and his research and publications, most notably as editor-in-chief of A History of Japanese Theatre, a monumental achievement via international collaboration. These two pieces are followed by six articles covering both traditional and modern theatrical forms in East, South, and Southeast Asia, starting with two articles on modern Chinese spoken drama huaju. In “History as Farce and the Intellectual as Comedian: Li Jing’s Metahistorical Drama Comedies from the State of Qin,” Andreea Chirita analyzes contemporary Chinese playwright Li Jing’s 2017 [End Page iii] metahistorical play Qinguo xiju (Comedies from the State of Qin). After a survey of historical plays that turned into metafiction in the post-Mao era, Chirita focuses on “the dramatic techniques used by Li Jing to articulate the role of the intellectuals as comedians and spiritual healers in contemporary China and their power to debunk and rethink history from a perspective that challenges the country’s political status quo.” The second article on huaju offers new evidence on China’s National Theatre Movement of the mid 1920s that has prompted several recent publications, including one in ATJ (33.1). In her “A Missing Piece of the Collage: The Stage Practice in the National Theatre Movement,” Barbara Jiawei Li discusses three productions of the movement, starting with one in New York’s International House that is generally believed to be the impetus for the movement’s transition back to China. Li’s discussion is made possible b
{"title":"From the Editor","authors":"Siyuan Liu","doi":"10.1353/atj.2023.0000","DOIUrl":"https://doi.org/10.1353/atj.2023.0000","url":null,"abstract":"From the Editor Siyuan Liu This issue starts with two long-planned articles in ATJ’s “founders of the field” series that started with two clusters of articles in 2011 (28.2) and 2013 (30.2), followed by a number of “founding mothers” articles between 2014 and 2017 (31.1, 32.2, 33.2, 34.1), continuing in this issue with Carol Fisher Sorgenfrei’s profile of Betty Bernhard and Julie Iezzi’s article on Jonah Salz. Sorgenfrei focuses on Bernard’s extraordinary capacity in discovering and promoting aspects of Indian performance to the world through fundraising and sponsoring international engagements by India artists, students training and productions of India plays with Indian artists at Pomona College, as well as several research-based films and videos, all of which made Bernard, as Sorgenfrei puts it, “an important influencer well before that concept became a social media meme.” The second “founder” article, written by Julie Iezzi, focuses on Jonah Salz, who stands out, in comparison to other founders profiled in this series, as a Western theatre director, producer, teacher, scholar, and translator primarily based in an Asian country, in his case Kyoto, Japan. Among Salz’s wide-ranging accomplishments, Iezzi focuses on his co-founded Noho Theatre Group that has produced hundreds of shows and toured internationally over forty years; his co-established Traditional Theatre Training (TTT) program that since 1984 has trained hundreds of artists in noh, kyōgen, and nihon buyō; and his research and publications, most notably as editor-in-chief of A History of Japanese Theatre, a monumental achievement via international collaboration. These two pieces are followed by six articles covering both traditional and modern theatrical forms in East, South, and Southeast Asia, starting with two articles on modern Chinese spoken drama huaju. In “History as Farce and the Intellectual as Comedian: Li Jing’s Metahistorical Drama Comedies from the State of Qin,” Andreea Chirita analyzes contemporary Chinese playwright Li Jing’s 2017 [End Page iii] metahistorical play Qinguo xiju (Comedies from the State of Qin). After a survey of historical plays that turned into metafiction in the post-Mao era, Chirita focuses on “the dramatic techniques used by Li Jing to articulate the role of the intellectuals as comedians and spiritual healers in contemporary China and their power to debunk and rethink history from a perspective that challenges the country’s political status quo.” The second article on huaju offers new evidence on China’s National Theatre Movement of the mid 1920s that has prompted several recent publications, including one in ATJ (33.1). In her “A Missing Piece of the Collage: The Stage Practice in the National Theatre Movement,” Barbara Jiawei Li discusses three productions of the movement, starting with one in New York’s International House that is generally believed to be the impetus for the movement’s transition back to China. Li’s discussion is made possible b","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134948790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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