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The Soul of Beijing OperaTheatrical Creativity and Continuity in the Changing World$
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Ruru Li

Print publication date: 2010

Print ISBN-13: 9789622099944

Published to Hong Kong Scholarship Online: September 2011

DOI: 10.5790/hongkong/9789622099944.001.0001

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PRINTED FROM HONG KONG SCHOLARSHIP ONLINE (www.hongkong.universitypressscholarship.com). (c) Copyright Hong Kong University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in HKSO for personal use (for details see www.hongkong.universitypressscholarship.com/page/privacy-policy).date: 17 November 2018

Kuo Hsiao-chuang —

Kuo Hsiao-chuang —

A Theatre That “Belongs to Tradition, Modernity and to You and Me”

Chapter:
(p.215) 7 Kuo Hsiao-chuang —
Source:
The Soul of Beijing Opera
Author(s):

Eugenio Barba

Publisher:
Hong Kong University Press
DOI:10.5790/hongkong/9789622099944.003.0008

This chapter examines why jingju was crowned as “guoju” (national drama) and became deeply interwoven with the whole problem of Taiwanese identity. It determines how an individual young actress dreamed of reforming the genre, and how she tried to achieve her goal of establishing a jingju that would “belong to tradition, modernity, and to you and me”. It moves the investigation from the mainland to Taiwan and the central figure is Kuo Hsiao-chuang, a dan actress whose work in the 1980s was once described by Wang Anqi, a Taiwanese scholar, as “dazzling sunlight” that people either loved or hated.

Keywords:   jingju, guoju, national drama, Taiwanese identity, mainland, Kuo Hsiao-chuang, dan actress, Wang Anqi

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