most unusual Chinese and man of the theatre. He understood the theatre of his own country and the West, and had valuable practical experience in both China and the United States. As for Conceison, whose job was to transmit to a readership her knowledge and feeling for her subject, her work is exemplary, as is her ability to convey in English his character and views sympathetically and truthfully. This is not only a lively read but also a convincing one. For the readers of this journal I recommend it strongly. But I also recommend it strongly to those interested in Chinese history and society in the twentieth century, especially for insight on how religion and ethnicity interwove with politics. Colin Mackerras Griffith University, Australia DRAMA KINGS: PLAYERS AND PUBLICS IN THE RE-CREATION OF PEKING OPERA, 18701937. By Joshua Goldstein. Berkeley: University of California Press, 2007. xi + 371 pp. Cloth $49.95. In this study of the history of Peking opera, Joshua Goldstein challenges a popular point of view that Peking opera ( jingju) is a wholly traditional and purely Chinese art form. In contrast, he argues that Peking opera is a modern construction, and that its parameters, performances,
Asian Theatre Journal – University of Hawai'I Press
Published: Feb 6, 2009
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