A Painted-Face Role Type and a Non-Painted-Face Character
This chapter discusses the impact of Jiang Qing's “jingju revolution” on actors and on the genre. It elucidates how jingju's fundamental aesthetics were altered and how certain conventions of singing/speaking/movement and the colour pattern of the jing role's facial make-up were eliminated when contemporary costumes, Western musical instruments and composition, lighting, and scenery entered the revolutionary contemporary model theatre. It notes that this is perhaps the most peculiar phenomenon produced by the Great Proletarian Cultural Revolution (1966–76). It further notes that during this period, the entire traditional repertoire and the newly written historical plays (like Tang Sai'er) were abolished, while model theatre and a small number of its adherents, directly guided by Mao's wife Jiang Qing (1914–91), dominated the stage, broadcasting, and screen.
Hong Kong Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.