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South Asian Festivals on the Move ed. by Ute Hüsken Axel Michaels (review)

South Asian Festivals on the Move ed. by Ute Hüsken Axel Michaels (review) 620 Book Reviews to be an arbitrary categorization because the character portrayal is based on a combination of acting techniques of traditional laosheng (older male), wusheng (martial male), and xiaosheng (young male), with absorbed military and folk dance movement vocabulary. On page 58, Li Tiemei’s name in Chinese char- acters is 李铁梅, not 李铁妹, thus the translation being “iron plums,” not “iron maidens.” The three major instruments of the traditional melodic orchestra of Beijing Opera are jinghu, jing’erhu, and yueqin, but on pages 68, 84, and 90, the list consists of jinghu, erhu, and pipa. The weaknesses in part 1 do not undermine the value of A Continuous Revolution as a study that offers an alternative and inclusive view of the extremely complex Cultural Revolution culture. In the spring of 2005, I observed the rehearsals of a reconstructive production of Azalea Mountain by the National Beijing Opera Company. In the rehearsal hall, a slogan on a red banner read “To Inherit Revolutionary Tradition; To Stage Outstanding Productions.” It is fascinating to recognize that the extensive innovations of Cultural Revolution culture are now taken as part of tradition, and that younger generations of Beijing opera practitioners are making an effort http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

South Asian Festivals on the Move ed. by Ute Hüsken Axel Michaels (review)

Asian Theatre Journal , Volume 31 (2) – Sep 23, 2014

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

620 Book Reviews to be an arbitrary categorization because the character portrayal is based on a combination of acting techniques of traditional laosheng (older male), wusheng (martial male), and xiaosheng (young male), with absorbed military and folk dance movement vocabulary. On page 58, Li Tiemei’s name in Chinese char- acters is 李铁梅, not 李铁妹, thus the translation being “iron plums,” not “iron maidens.” The three major instruments of the traditional melodic orchestra of Beijing Opera are jinghu, jing’erhu, and yueqin, but on pages 68, 84, and 90, the list consists of jinghu, erhu, and pipa. The weaknesses in part 1 do not undermine the value of A Continuous Revolution as a study that offers an alternative and inclusive view of the extremely complex Cultural Revolution culture. In the spring of 2005, I observed the rehearsals of a reconstructive production of Azalea Mountain by the National Beijing Opera Company. In the rehearsal hall, a slogan on a red banner read “To Inherit Revolutionary Tradition; To Stage Outstanding Productions.” It is fascinating to recognize that the extensive innovations of Cultural Revolution culture are now taken as part of tradition, and that younger generations of Beijing opera practitioners are making an effort

Journal

Asian Theatre JournalUniversity of Hawai'I Press

Published: Sep 23, 2014

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