台湾“老歌仔戏”：“小戏”向“大戏”的过渡形态

宜兰“老歌仔戏”源自闽南传入台湾的街头“小戏”,是歌仔戏最为初级、原始的舞台演出阶段.相较于车鼓戏等街头“小戏”,“老歌仔戏”的演出地点已由街头走向了舞台,演出内容已由表演片段发展为演出全本戏.它的表演形态与“小戏”所差无几,虽已少量吸收大型说唱文学的情节内容,但演出仍以表演歌舞而主,因而尚不能称为严格意义上的“大戏”,而是“小戏”向“大戏”发展的特殊过渡形态.     

历史文化的积淀——从傩戏的起源和发展探傩戏的本质

傩戏是起源于原始宗教的一种民间戏剧艺术,被称为当今戏剧的“活化石”。它的起源或形成与中国历史文化有着密不可分的渊源关系,它的发展更是有其特定的社会因素掺杂在里面。从宗教蜕变成为戏剧,显示出傩戏在历史发展过程中所具有的生命力。本文试图从历史文化的角度探讨傩戏这一特有的文化剧种的演变过程。     

"五花爨弄"及其意义新探

"五花爨弄"是中国古代戏曲史上的一个专有名词.关于"五花爨弄",近世学者研究已多而分歧亦多,至今仍然悬而未决.本文考订认为"五花爨弄"即南诏、大理之高级迎宾馆--五花楼内所表演的一种爨系乐舞,渊源于爨氏统治时期的"乐人幻戏"."五花爨弄"于北宋末传入内地后,不啻巨大地影响了中国戏曲的发展,且直接丰富了中国汉语言的表达.由此揭示,边疆少数民族与内地的文化影响是相互的,虽不排除内地对边疆少数民族的影响更大.     

Classical Music Struggles to Be Heard

Other than at Christmas and New Year, large-scale commercial performances by China's dozen-plus orchestras are rare.     

The Strong and Wise Women of China＇s Past

T0 be a female depicted in Peking Opera is to represent one of the few heroines of Chinese history. They must possess outstanding morals and politically savvy, be highly educated or martial arts experts. Of these strong women characters the most prominent is Zhong Wuyan.     

Pujiu Temple and Notre Dame de Paris

As the curtain lifted on the year 2003,two classic love stories were staged in China:the Peking Opera The West Chamber and French musical Notre Dame de Paris.To the throngs of theater-goers who went to these performances,they were an aural and visual Chinese/cordon bleu feast.     

Modern Revival of an Ancient Opera

WITH a history of at least 600 years,Ti-betan opera has been dubbed "the living fossil of traditional Tibetan culture".Hav-ing been inscribed on both the national intangible cultural heritage list of China and UNES-CO's intangible cultural heritage list,the ancient op-era has gained many modern devotees. Owing to local people's passion for the opera and government support in its preservation,this ancient cultural treasure continues to shine in modern times. Legendary Evolvement Tibetan opera,called Aje Lhamo (fairy sisters)in Tibetan language,boasts a history of more than 600 years,about 400 years longer than another well-known Chinese cultural treasure,the Peking opera. In the 14th century,Drupthob Thangtong Gyalpo,a high-ranking monk and iron bridge builder,decided to build iron bridges across many key rivers in Tibet to improve local transportation.     

Revival of the Cantonese Opera

WALKING along the archaistic streets of Yongqingfang Square in Guangzhou,one will notice a museum built in the architectural style of a Lingnan gar-den (a typical garden south of the Five Mountain Ridges in south China).That is the Cantonese Opera Art Museum.Standing as a local landmark,the "garden museum" has attracted many Canton-ese Opera lovers.     

国家非物质文化遗产德江傩堂戏面具的造型艺术探析

傩面具是民间工艺美术之一,是人类文明早期的一种艺术形式,具有独特的艺术内涵和造型特征。在此,从德江傩堂戏面具的造型原型进行考察,通过挖掘傩面具的视觉艺术信息,进而归纳总结傩面具造型的艺术特征以及其艺术造型所体现的人民审美情趣,从而揭示傩堂戏面具造型艺术中蕴含的人类初始审美力量和艺术价值。     

A TALE OF CONTINUITY AND CREATIVITY

正Peking Opera seeks balance between tradition and innovation in modern times In the classic Peking Opera San Cha Kou(or The Crossway), two male roles battle each other fiercely yet quietly in the night. The stage characters pretend to be shrouded in darkness, lunging at one another by listening, smelling and touching, but never seeing. To Chao Fan, an actor with the China National Peking Opera Co., this type of performance, one without an actual physical setup, is the charm and essence of Peking Opera.     

Made in China vs. Made by Chinese: Global Identities of Chinese Business

The interaction between two perspectives—China as a world factory and Chinese business knowledge—has been complicated by the ever greater tensions generated from the national—China—and the transnational actors—Chinese—in understanding the economic driving force behind the real meanings of the rise of China. The construction process of the rise of Chinese economic power puts the state in direct contact with regional and global economic/political changes. On the one hand, Chinese business knowledge, identities, economic and political interactions also give rise to the notion of network building and sub-regional development, which help transcend country-specific relations. On the other hand, the notion of the rise of China is still being re-constructed through the interplay between regional and global political economy.     

When French Design Meets Chinese Manufacturing

IN 2000,when I first arrived in Paris,there were limited French products seen on the Chinese market,and vice versa.Fourteen years later,when I started Bonjour Brand,French products had deeply penetrated the Chinese high-end market.As an organizer,volunteer or visitor,I've participated in many initiatives to promote Chinese culture in France.These include activities involving calligraphy,paint-ing,Chinese opera facial makeup,embroidery,and paper-cutting,all of which are excellent art forms from China.However,despite these cultural promo-tion attempts,when you ask a French person what comes to mind when they think of China,the answer is invariably the Great Wall,made-in-China products,kungfu and pandas.     

When French Design Meets Chinese Manufacturing

IN 2000,when I first arrived in Paris,there were limited French products seen on the Chinese market,and vice versa.Fourteen years later,when I started Bonjour Brand,French products had deeply penetrated the Chinese high-end market.As an organizer,volunteer or visitor,I've participated in many initiatives to promote Chinese culture in France.These include activities involving calligraphy,paint-ing,Chinese opera facial makeup,embroidery,and paper-cutting,all of which are excellent art forms from China.However,despite these cultural promo-tion attempts,when you ask a French person what comes to mind when they think of China,the answer is invariably the Great Wall,made-in-China products,kungfu and pandas.     

Nationalism,Civilization and Transnational Relations: the discourse of Greater China

This essay examines the interplay between nationalism and foreign policy in China—but with a twist. It seeks to loosen up analytical categories to expand from cultural nationalism to see how civilization constructs identity in national and transnational ways. It examines the limits of Chinese trans/nationalism according to the main Chinese expression of inside/outside—‘civilization/barbarism’—as it constructs Chinese nationalism and Greater China. The purpose is to both critically examine Chinese nationalism and to trace what our focus on the nation-state obscures: namely, transnational politics. Rather than recounting one master narrative of Chinese nationalism, the essay argues that civilization and barbarian define Greater China according to four narratives—nativism, conquest, conversion and diaspora. Hence, the essay does not merely deconstruct the notion of Greater China and Chinese nationalism, but shows how these four grids of meaning can help us to understand identity politics and foreign policy debates in China. Nationalism thus turns from being the Answer about the true intent of China, to being a series of questions which define different terrains of political inquiry.     

Introduction: China,Ltd

The study of Chinese nationalism is very popular—both in China and the West. This article introduces a special section of seven articles (four of which are in this issue) on ‘The Limits of Chinese Nationalism’, arguing that our understanding of nationalism in China is problematic. This special section aims to explore the limits of many of the statements about Chinese nationalism that have now become ‘common sense’: the rise of Chinese nationalism, nationalism filling an ideological vacuum, elites manipulating nationalism to gain legitimacy, and so on. Using critical IR theory this Introduction explores the concept of limits to argue that borders in China are not just territorial, but cultural, economic and thus political. It seeks to change the objective of our discussion of Chinese nationalism from seeking an Answer—either as a measure of the objective nature of Chinese nationalism or as a moral judgment of it as good or evil—to seeing ‘nationalism’ as a provocation which pushes us to think about China and identity in a host of different and productive ways.     

Market Watch

Moderate Prospects Investment and consumption have been the biggest motors of the economy,both surging in the first four months this year.Exports also regained some lost ground,soaring 30.5 percent in April from a year ago.     

About Face—the relational dimension in Chinese IR discourse

The preservation of face is an important concept in Chinese behavioral patterns, both at individual and national levels. Beyond national interest considerations, modern-day diplomacy between China and the world also involves substantially the exchange of face. This article will argue that face represents a relational understanding of how China views and interacts with the world. By linking face to three themes that international relations scholars frequently use in describing how China sees the world, namely, the tribute system, the Chinese memory of historical humiliation and China’s distrust of the American-led international system, the article hopes to show how the understanding of face—as a crucial element of Chinese identity—can inform scholars and practitioners in their attempts to engage China.     

Modern Take on a Master

Beijing Review:Why did you decide to translate The Analects?How long did it take? Lin Wusun:To be frank,when I was young,I had little interest in Chinese philosophy.     

Descendants of a Long Line of Peking Opera Masters

TRADITIONALLY, Peking Opera performance techniques are passed on through succeeding generations of the families of its master exponents, ensuring that excellent performance techniques carry on. It was in the 1790s that this quintessence of Chinese culture emerged in Beijing to be enjoyed on all social levels, from the imperial courtiers to rickshaw drivers, to farmers. Several hundred troupes and countless theaters were established throughout the country, and at its peak, Peking Opera comprised 15 major schools named after its most famous exponents. They included the Tan (Tan Fuying), Mei (Mei Lanfang), Ma (Ma Lianliang), Xun (Xun Huisheng), and Qiu (Qiu Shengrong) schools.     

United by Purpose

正In an interview with Beijing Review reporter LiNan,William Brown, Academic Director of the One MBA program at the School of Management, Xiamen University, shared his observations on President Xi Jinping's recent declaration that China has built a moderately prosperous society in all respects.