資料來源: Google Book
Peking opera and politics in Taiwan
- 作者: Guy, Nancy,
- 出版: Urbana : University of Illinois Press c2005.
- 稽核項: xvii, 230 p. :ill., map ;24 cm.
- 標題: Political aspects. , Aspect politique. , Operas chinois Taiwan -- Aspect politique. , Operas, Chinese Taiwan -- Political aspects. , History and criticism. , Histoire et critique. , Operas chinois Taiwan -- Histoire et critique. , Operas chinois , Operas, Chinese , Operas, Chinese Taiwan -- History and criticism.
- ISBN: 0252029739 , 9780252029738
- 試查全文@TNUA:
- 附註: Includes bibliographical references (p. [209]-222) and index. The variable conditions and meanings of patronage -- The search for international recognition -- Peking opera in the service of state ideology -- The state regulation of repertoire -- The consequences of exile, the challenges of contact -- The musical legacy of isolation, the shock of reunification -- Democratization and the dismantling of "national opera".
- 電子資源: https://dbs.tnua.edu.tw/login?url=http://www.loc.gov/catdir/toc/ecip052/2004023670.html
- 系統號: 005222280
- 資料類型: 圖書
- 讀者標籤: 需登入
- 引用網址: 複製連結
Peking Opera and Politics in Taiwan tells the peculiar story of an art caught in a sea of ideological ebbs and flows. Nancy Guy demonstrates the potential significance of the political environment for an art form's development, ranging from determining the smallest performative details (such as how a melody can or cannot be composed) to whether a tradition ultimately thrives or withers away.When Chiang Kai-shek's Nationalist government and military retreated to Taiwan in 1949, they brought along numerous Peking opera performers. Expecting that this symbolically important art would strengthen regime legitimacy and authority, they generously supported Peking opera's perpetuation in exile. Valuing mainland Chinese culture above Taiwanese culture, the Nationalists generously supported Peking opera to the virtual exclusion of local performing traditions, despite their wider popularity. Later, as Taiwan turned toward democracy, the island's own "indigenous" products became more highly valued and Peking opera found itself on a tenuous footing. Finally, in 1995, all of its opera troupes and schools (formerly supported by the Ministry of Defense) were dismantled.Nancy Guy investigates the mechanisms through which Peking Opera was perpetuated, controlled, and ultimately disempowered, and explores the artistic and political consequences of the state's involvement as its primary patron. Her study provides a unique perspective on the interplay between ideology and power within Taiwan's dynamic society.Nancy Guy is an associate professor of music at the University of California, San Diego.
來源: Google Book
來源: Google Book
評分