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64 Cards in this Set
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early chinese theater timeline |
Timeline
960-1279 Song Dynasty nanxi (southern opera)1271-1368 Yuan Dynasty zaju (northern variety opera) (scholarly characters-civil service) 1368-1644 Ming Dynasty chuanqi (marvel drama) -more fantastic elements 1500s kunqu operab. 1611 Li Yu (theory-fun) 1598 The Peony Pavilion by Tang Xianzu 1644-1912 Qing Dynasty-- 1790 Debut of jingju (Beijing or Peking opera)1900s huaju (spoken drama) for the first time w/out music |
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xiqu |
Chinese opera more than 300 kinds of operatic traditions separated by region or dialects and cultures
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nanxi |
12th century CE (Song Dynasty)Form of southern dramaMostly romantic comediesFour types of characters
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Sheng(male) roles
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Lao Sheng--older man, beard
Hsiao Sheng-prince or young man Wu Sheng -warrior-feather antennae, flags |
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Dan (female) roles
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Lao Dan-old woman
Wu Dan-warrior woman Qing Yi -ingenue- love interest often dies wears white, very high pitched voice Hua Dan-maid to qing yi, usually older servant, funny and crude, lower voice Dao Ma Dan-martial figure |
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Jing (“painted face”) roles
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Cheng Ching--demons/bandits
Wu Ching -- |
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Chou (clown) roles
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white box on face ridiculous costuming |
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chinese Theatre Production |
Performances by professional actors and actresses
Nearly bare stages with emphasis on costumesRed carpetTables and chairs Painted cloth backdrop Movements and props such as fans with symbolic meanings not realism based required knowledge of symbolism and conventions of the theater |
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Ground Plan of a Traditional Chinese Theatre
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like a 3/4 thrust stage, often set up in teahouses. very small stage. focused, individual spectacle |
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Kunqu Opera |
Developed in the Suzhou city KunshanInfluenced by nanxi and chuanqi traditions
By 1550, the Suzhou elite had appropriated kunqu for private household performancesCourt patronage --took over--emerged from folk performances Tang Xianzu (1550-1616)The Peony Pavilion (c. 1598) https://www.youtube.com/watch?v=AV1JMA1CwrI&index=2&list=PLbwEEwks2w1CyMi-PSSPGD_-6y7tIG30 CharacteristicsSoft, slow, flowing music and movementLyrics fit to pre-existing folk songs, role-types, and romantic stories with happy endings50 acts performed over several daysIncreasingly literary |
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Tang Xianzu (1550-1616)
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The Peony Pavilion
often compared to Shakespeare's R&J (writing at same time, though used just to give westerners an idea of his popularity and power) |
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Jingju (Beijing Opera)
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Qing Dynasty (1644-1912)
Debuted at Qianlong Emperor’s birthday in 1790 Derived from earlier plays, history, legend, and folklore Civil plays – social and domestic themes Military plays – adventures of warriors or brigands Further divided into serious plays and comic plays Similarities to kunqu opera Four character types Characters introduce themselves and the situation Conventionalized movement, gesture, costumes, makeup, and props |
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Jingju |
https://www.youtube.com/watch?v=vtV3iAuYN48
Differences from kunqu opera==lighting brighter, much more energy in the music, more percussion, louder instead of soothing, more background, incorporates more martial arts and dance movement, faster movements, more people on stage Beijing- became capital, which affected mass culture Mei Lan-Feng theatricality, percussiveness, spectacle |
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Revival of Kunqu andThe Peony Pavilion
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1998 - Chen Shi-Zheng collaborated with the Shanghai Kun Opera Troupe to produce the complete 18-hour-long Peony Pavilion
2001 - United Nations Educational, Scientific, and Cultural Organization (UNESCO) named kunqu a Masterpiece of the Oral and Intangible Heritage of Humanity 2004 - Kenneth Pai’s “Young Lovers’ Edition” toured China, Hong Kong, Taiwan, and California |
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The Peony Pavilion
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Plot-dream of love both bride and scholar
Themes- Love sickness- Cult of qing-passionate feelings-wastes away Plum blossoms-blooming, dying Peonies-spring, fertility Main Characters- Bridal Du-qing yi Spring Fragrance-maiden Liu Mengmei-scholar-sheng |
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20th Century Theatre
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huaju (spoken drama)
Originally translations or adaptations of foreign works (ex. Camille, The Black Slave’s Cry to Heaven(uncle tom's cabin), Shakespeare) Brought over by students who had gone to Japan Soviet influence Cao Yu (1910-1996) Thunderstorm (1935) |
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chuanqi opera |
the lute song most (famous) |
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Wei Liang-Fu (1489-1566) |
creator of kunqu Often credited with the creation of kun songs Merged two local singing stylesAdded bamboo flute accompaniment to percussive base |
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songs and lyrics |
known songs with new lyrics relative to what was going on at the time- kind of like a jukebox musical |
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Kong Shangren (1648-1718)
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Peach Blossom Fan (1699)
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Characteristics of kunqu opera |
Soft, slow, flowing music and movement
Lyrics fit to pre-existing folk songs, role-types, and romantic stories with happy endings 50 acts performed over several days Increasingly literary and erudite as time went on |
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good link for info on peony pavilion |
http://alumni.berkeley.edu/california-magazine/july-august-2006-indo-chic/deaths-and-lives-peony-pavilion
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Decline of Kunqu Opera |
•1700s- kunqureduced to zhezixi,extracted scenes, popularized through miscellanies –Elitessung arias at home–Professionalacting troupes performed popular rather than poetic song-and-dance sequences •Audiencesdesired new music and greater spectacle
•Southerndialect, literary allusions, and melisma-based singing inaccessible to masses•TaipingCivil War devastated Suzhou |
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zhezixi |
extracted scenes, popularized through miscellanies. more popular less elite
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zhezixi Similarities to kunqu opera
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Four character types
Characters introduce themselves and the situation Conventionalized movement, gesture, costumes, makeup, and props |
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scene breakdown for peony pavilion |
https://nightwalk2016.wordpress.com/peony-pavilion-synopsis/
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Bunraku
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Joruri+ samisen + puppets https://www.youtube.com/watch?v=0UoG6Y8N-k4
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Chikamatsu Monzaemon (1653-1725)
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Penned plays for bunraku and kabuki traditions Battles of Coxinga (1715) The Love Suicides at Amijima (1720)
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Kabuki
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OriginsEarly 1600sDeveloped from popular urban dances, secularized forms of religious dances, and folk dances
Okuni of Izumo |
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Kabuki Gender |
GenderTheatres in the “red light” district
1629: women banned from performing 1652: young boys banned from performing |
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Kabuki Roles
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tachiyaku – good men
katakiyaku – villains dokekata – comics koyaku – children onnagata – women |
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Regionalism Kabuki Osaka and Kyoto |
Merchant class “soft” acting style
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Regionalism Kabuki
Edo (Tokyo) |
Samurai class“rough” acting style
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Major Characteristics of Kabuki |
Popular audiences
Music and dance are central Entrances, exits, and dialogue are underscored by known tunes Movement is underscored by original musicPerformers strike mie (characteristic poses)Style combines symbolic gestures and props with illusionism Play typesHistorical, domestic, and comicMany texts are the same or similar to those in the bunraku repertoryThe 47 Ronin |
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mei |
characteristic pose in kabuki |
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kabuki play types |
historical, domestic, comic |
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Kabuki Theater |
Wide stageLow prosceniumHanamichi or “flower way” for entrances and exitsRevolving stageTrap doorshttps://www.youtube.com/watch?v=67-bgSFJiKc
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hanamichi |
flower way- path through audience to stage in kabuki |
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shinpa |
introduction of Western-style theatre (1880s)agitprop used patriotic events such as the Russo-Japanese War (1905) as topics for melodrama Adapted western works Brought actresses back to the stage
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shingeki |
Literary Arts Society (1906) staged Western plays and translated ShakespeareFree Theatre (1909) Influenced by realism and Stanislavsky
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Carlo Goldoni |
Realistic commedia dell'arte argued with gozzi 1748-1762 The Venetian Twins Mistress of the Inn also used oriental influences |
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Carlo Gozzi |
Fanciful, fantasy commedia dell'arte liked asian myths- fantastic argued with goldoni 1748-1762 theater of the fabulous |
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Changes in 18th century life that affected society- age of enlightenment |
Increase in manufacturing switch from wool to cotton and silks wars became economic and territorial instead of religious tremendous wealth the beginning of merchant class developments in learning and philosophy Montesquieu, Voltaire, Rousseau religious tolerance arising |
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inventions |
steam engine, cotton gin, flying shuttle, spinning jenny |
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baroque style |
emphasized colour, detail, ornamentation, total illusion |
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Rococo |
Watteau-less ornate but still detailed |
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denis diderot (1713-1784) |
drame bourgeois- any serious play not neoclassical tragedy- wrote the Encyclopedie (1750-1772) realism on stage "the paradox of acting" conceived 4th wall Catherine the Great I sponsor |
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George Lillo |
the london merchant-- early example of middle class tragedy |
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bourgeois or middle class tragedy
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rewarding the virtuous punish the wicked middle class
morality reflects middle class social rise heroes and heroines from middle class ok to combine tragedy and comedy |
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ballad opera |
english, parody of Italian opera, spoken dialogue alternating with songs to popular melodies lower classes, often satire |
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Comic opera |
french, pantomime like, actors dressed as cupids held signs with dialogue in rhyming couplets. while actors acted it out. going around monopoly of comedie francaise, based upon comedia dell arte characters |
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sentimental comedy |
reaffirms middle class morality comedy of manners, satirizes social conventions and norms The conscious lovers by Richard steele 1722 later in france became comedy larmoyante, tearful comedy |
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Richard Brinsley Sheridan 1751-1816 |
The Rivals A School for Scandal best known sentimental comedies Drury lane link between restoration comedies and later work by wilde and shaw |
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Royall Tyler |
first american born playwright The Contrast 1787 |
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sturm und drang |
storm and stress german movement that rejected dramatic rules used episodic structure, mixed genres, violence on stage Goethe-Boetz von Berlichingen 1773 schillers- the robbers 1782 radical in subject and style |
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melodrama |
beginning 1790s spectacular effects, violent action, moral lessons |
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government interference in theater- England |
Licensing act, restricting theater to covent garden and drury lane, lord chamberlain is responsible for licensing plays. many creative ways of circumventing the law |
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burletta |
any three act play with five or more songs per act- creatively going around the law |
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covent garden |
opened 1732 John Rich manager pantomimes with animals, contortionists, older plays etc after 2nd enlargement, held 3k burned down 1808 under kemble, old price riots when he tried to raise prices at reopening refurbished 1999 now opera house and ballet |
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licensing act 1737-1843 |
covent garden and drury land only two theaters licensed to present legitimate drama more than 100 years! |
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Gov restrictions theater-France |
opera, comedie francaise, and comedie italienne, were subsidized, others restricted boulevard theaters all restrictions abolished in 1791 (revolution) |
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boulevard theaters |
on boulevard du temple in Paris, musical theater and comic opera,variety came under control of opera in 1784 because so popular |
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Government restrictions--Germany |
Independent states instead of nation like france opera, dance, court based then jesuit educational presentations and early form of theater slapstick etc influenced by english actors and comm dellarte last quarter of 18th cent became subsidized --money helped but can cause censorship of dramatic content |
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Konrad ackerman |
established Hamburg's first permanent theater (failed) |
