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Coles Inscribing Jingju/Peking Opera: Textualization and Performance, Authorship and Censorship of the “National Drama” of China from the Late Qing to the Present at Bayshore Shopping Centre in Ottawa, ON
Inscribing Jingju/Peking Opera: Textualization and Performance, Authorship and Censorship of the “National Drama” of China from the Late Qing to the Present
Inscribing Jingju/Peking Opera: Textualization and Performance, Authorship and Censorship of the “National Drama” of China from the Late Qing to the Present in Ottawa, ON
Inscribing Jingju/Peking Opera: Textualization and Performance, Authorship and Censorship of the “National Drama” of China from the Late Qing to the Present in Ottawa, ON
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What was the most influential mass medium in China before the internet? Jingju (Peking opera)! Although its actors were commonly thought to have been illiterate, written and other inscripted versions of plays became more and more important and varied.
This book shows how increasing textualization and the resulting fixation of a performance tradition that once privileged improvisation changed the genre. It traces, from Jingju ’s birth in the 19th century to the present, how texts were used for the production and consumption of this important performance genre and the changes in the concepts of authorship, copyright, and performance rights that took place during the process. The state’s desire to police what was performed is shown to have been a major factor in these changes.
The scope and coverage of the book is already unprecedented, but it is also supplemented by an additional chapter (on where the plays were performed, who performed them, and who went to see them) available for download online.
What was the most influential mass medium in China before the internet? Jingju (Peking opera)! Although its actors were commonly thought to have been illiterate, written and other inscripted versions of plays became more and more important and varied.
This book shows how increasing textualization and the resulting fixation of a performance tradition that once privileged improvisation changed the genre. It traces, from Jingju ’s birth in the 19th century to the present, how texts were used for the production and consumption of this important performance genre and the changes in the concepts of authorship, copyright, and performance rights that took place during the process. The state’s desire to police what was performed is shown to have been a major factor in these changes.
The scope and coverage of the book is already unprecedented, but it is also supplemented by an additional chapter (on where the plays were performed, who performed them, and who went to see them) available for download online.
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