Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
What is peking opera (essay
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: What is peking opera (essay
How would an actor prepare to successfully portay the role of the Dan in the traditional Peking Opera play „The Drunken Beauty“?
The Peking Opera, one of the traditional chinese theater forms is considered to be one of the cultural treasures of China that arose in 1790, when a drama troupe, known as the Sanqing troupe, from southern Anhui firstly performed a musical combination in Beijing at emperor Qianlong’s eightieth birthday. Peking Opera grew and was particularily popular in the Qing Dynasty. „Although Peking Opera itself is not particularly ancient...Peking Opera presents the climax of the nation’s rich and colourful theatre tradition“, that revolved around stories, impersonation, and relationships among the characters (Mackerras). Peking Opera grew and was particularily popular in the Qing Dynasty. „It comes to no suprise that in the heyday oft he boy actors early in the nineteeth century, most performances on stages of Beijing were civil theatre, with boys playing the roles of women. Today, the main performance troupes are based in Beijing, former Peking, Tianjin and Shanghai. However, it is also performed in other countries, such as the United and Japan. Peking Opera unifies music, vocal performance, mime, dance and acrobatics under the influence of Cheng Changgend (1811-80), also called the the „father of Peking Opera“. „The China National Peking Opera Company (CNPOC) is one of the national ensembles of performance arts directly affiliated with the Ministry of Culture, People’s Republic of China.“ Young actors aspiring to become part of a well-establishe Peking Opera company, such as Chinas National Peking Opera Company, usually train at the Peking Opera School. A peking Opera school student usually train...
... middle of paper ...
...this was a movement not done by well-bred upper class chinese woman in the olden days.
The hua dan uses props such as a red handkerchief, which is held in the characters hand and fluttered around for flirtatious purposes. Because she is not virtious, her singing is gayer and louder than that of the other dan characters in Peking theater.
Costume
The K’u Ao is a costume that consists of trousers and a blouse. This costume is worn by the Hua dan and people of low social class. “It is often colorful and somtiemes elaborately embroidered with a sash tied round the middle (Mackaras).” The Ta Fa is the name of the hairstyle of the dan character, where the hair is drawn back off od the face and “rises to a thick, mounted chignon at the back. (mackaras)”. The hair of the actor should be curled and these curls should be arranged in semi-circles … To be continued …
Ban Zhao wrote Lessons for a Woman around the end of the first century C.E. as social guide for (her daughters and other) women of Han society (Bulliet 167). Because Zhao aimed to educate women on their responsibilities and required attributes, one is left questioning what the existing attitudes and roles of women were to start with. Surprisingly, their positions were not automatically fixed at the bottom of the social hierarchy. Ban Zhao’s own status as an educated woman of high social rank exemplifies the “reality [that] a woman’s status depended on her “location” within various social institutions’ (167). This meant that women had different privileges and opportunities depending on their economic, social, or political background. Wealthier noble women would likely have access to an education and may have even been able to wield certain political power (167). Nevertheless, women relinquished this power within the family hierarchy to their fathers, husbands, and sons. Despite her own elevated social status, Ban Zhao still considered herself an “unworthy writer”, “unsophisticated”, “unenlightened’, “unintelligent”, and a frequent disgrace to her and her husband’s family (Zhao). Social custom was not, however, the only driving force behind Zhao’s desire to guide women towards proper behavior.
As stated before, many women who felt that they were involved in nationalist movements saw these opportunities presented to women. In document 4, Teodora Gomes is able to provide us with information about the opportunities of roles in nationalist party leadership for women. In document 1, Manmohini Saghal shows increased public participation of women. In document 2, Song Qingling even shows that women have taken place in military efforts during this time. In document 1, Manmohini Saghal shows increased public participation of women. These documents clearly show how women saw these movements as opportunities to change th...
Chinese Dancing Bendigo style is an exceptional story that emphasises on cultural perspectives and how it affects certain individuals. In doing so, it has shaped my understanding of how life is for a half Asian, primary school boy living in Australia. Some messages found through the story are how it has a didactic aspect to it in regards of teaching us not to be judgmental due to the fact that the bi-cultural individual may be facing problems of self-acceptance in many aspects such as appearance. In addition to this, the story portrays the differences between the cultures found within the story showing me how different two cultures can truly be. Finally, in the end of the story, we see the persona accepting himself through culture showing me
One of the eras of a majestic ancient civilization that has left a lasting impression upon the world of today is the Chinese Song Dynasty. Established by General Zhao Kuangyin this dynasty lasted from 960–1279 AD and brought a new stability to China after many decades of civil war, and ushered in a new era of modernization. It was divided into the Bei (Northern) and the Nan (Southern) Song periods. This brilliant cultural epoch gave birth to major advances in economic reform, achievements in technology, and helped to further medical knowledge.
Woo cleans the house herself and no longer has a housekeeper. With the money she saved, she hired Mr. Chong, an ancient piano teacher, who can barely hear and whose eyes are too dulled to tell when Jing-mei messes up. He is so genuine that Jing-mei feels guilty and picks up the basic skills, but she is so bent on not pleasing her mother that she continues to purposefully lack in her efforts. She hates the piano. She hates the fact that her mother is shaping her identity. She hates that her mother forces it upon her. She hates that it's everything she isn’t: disciplined, elegant, and most of all controlled. Jing-mei wants to be who she wants to be, and with the piano around, she only continues to be who her mother wants her to be, but she can not tell her mother this. She is supposed to play a piece called “Pleading Child” which is a “simple, moody piece that sounded more difficult than it was”. Even though she had not practiced and didn't know the piece, she played anyway. Halfway through, she began to realize how awful she was. The silence that followed her performance and her parent’s disappointed looks unfolded the undeniable truth, Jing-mei was not a piano
Women usually worked as secretaries or on the assembly line because “bosses felt that young women were more diligent and easier to manage” (p. 56). Men, however, were either in a high managing position in the factory or worked in the lowest of jobs available, such as a security guard or driver. It was interesting to learn that about one-third of all of China’s migrants are women. These women go to the factory towns to work, but also, a majority of them leave their homes to see the world and experience life on their own for the first time. Chang makes a point that “to some extent, this deep-rooted sexism worked in a woman’s favor” (p. 57). The statement is supported by the idea that women are less treasured in their families; therefore, they had more freedom to do what they wanted with little care from the family. Shockingly, Chang noticed that no woman ever complained about unfair treatment. “They took all of these injustices in stride” (p.58). The women were grateful for the opportunity leave home and gain a sense of freedom; injustice was not a prominent
Across cultures, many times similarities lay within them that go unnoticed. It is true that obvious differences set them apart; but if a closer look is taken, it is surprising what can be found. The Chinese culture is obviously different from the American culture, but underneath the surface there are similarities. One of them is how the treatment of women has evolved and changed. Anti-feminism in China has been present since ancient times, and has just recently decreased. Anti-feminism in America has never been as severe as it was in China; however, instead of the value of women gradually increasing over the years - it has reversed. The value of women in America has decreased. There are many similarities between the ancient Chinese women and the modern women of America. Women in China and women in America have both gone through evolutions of how they are treated and looked upon; it is just that women in China have evolved, where the women of America have devolved.
In a village left behind as the rest of the China is progressing, the fate of women remains in the hands of men. Old customs and traditions reign supreme, not because it is believed such ways of life are best, but rather because they have worked for many years despite harsh conditions. In response to Brother Gu’s suggestion of joining communist South China’s progress, Cuiqiao’s widower father put it best: “Farmer’s have their own rules.”
The issue of cultural stereotypes and misconceptions thematically runs throughout David Henry Hwang’s play M. Butterfly. The play is inspired by a 1986 newspaper story about a former French diplomat and a Chinese opera singer, who turns out to be a spy and a man. Hwang used the newspaper story and deconstructed it into Madame Butterfly to help breakdown the stereotypes that are present between the East and the West. Hwang’s play overall breaks down the sexist and racist clichés that the East-West have against each other that reaffirm the Western male culture ideas. The stereotypes presented in the play revolve around the two main characters, Gallimard and Song. The play itself begins in the present with Gallimard, a French diplomat who has been incarcerated in a Beijing prison. He relives his fantasies for the past with his perfect woman and shares his experience with the readers throughout the remainder of the play. Upon Gallimard’s arrival in China, he attends the opera and meets Song, and Gallimard immediately describes Song as his “butterfly”. Gallimard falls in love with the “delicate Oriental woman” that Song portrays (22). He then buys into the Western male stereotype that Eastern women need protection by strong, masculine Western men. Gallimard ends up falling in love with Song and has an affair with her to fulfill the stereotypical idea of a dominant Western male controlling an Eastern woman. Throughout Gallimard’s relationship with Song, the readers discover that Song is in reality a male spy for the Chinese government. Song had manipulated his looks and actions to mirror those of the ideal Chinese woman in order to earn Gallimard’s affection. M. Butterfly’s main issue arises from the cultural stereotypes of the masculin...
Kazuko, Ono. "Chinese Women in a Century of Revolution, 1850-1950." edited by Joshua A. Fogel, Stanford: Stanford University Press, 1989.
The Symphony Orchestra concert was preformed by The OU School of Music with Jonathan Shames as a conductor and they presented Sutton Concert Series. In addition, the Orchestra concert performed at Paul F. Sharp Concert Hall in October 12, 2015.There were like forty-one performers on the stage including the conductor using different types of instruments and and all of them were wearing a nice black clothes. The stage was a quite large with wooden floor and there were two floors for the audience with a comfortable seating. However, all the performers were on round shape and against the conductor.
In 1127, after a prince of the Song Dynasty fled across the Yangtze River to Hangzhou, the Southern Song Dynasty was established. The Southern Song Dynasty achieved a period of economic success, prosperity, and artistic creativity, despite the fact that the military was not exactly strong. The Southern Song Dynasty’s downfall did not come from problems within, but was overthrown by Mongols in 1279, marking the end of the Song Dynasty.
The History of Chinese Music The history and development of Chinese music through different time periods from when it began.
Peking opera first started to gain national recognition in the 19th century, as is probably the best-known Chinese traditional music-theater in the West. Though known to the West as Peking opera, it is referred to in China as "jing ju," translated as "capital theater." This musical genre contains such diverse characteristics including virtuosic singing in romantic scenes involving young lovers, stylized battle scenes at land our at seas featuring spectacular acrobatics, comical slapstick often with underlying themes of political satire, and dramatic scenes of betrayal, revenge, retribution, and triumph.
Peking Opera is over 200 years old (Wertz).It started in approximately “1790, when four opera troupes from the province of Anhui came to Beijing to perform on the occasion of the 80th birthday of the emperor, Qianlong” (HISTORY, Xu). It was originally performed in “open air, teahouses or temple courtyards” (Wertz). Peking Opera is a blend of “singing, reading, acting, fighting, and dancing” (ebeijing).”Today as in the past century, performers are first trained in acrobatics, followed by singing and acting” (Wertz).