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shadows. Symbolic color was also very prevalent; a black face represented honesty, a red one bravery. The rods used to control
Cantonese puppets were attached perpendicular to the puppets' heads. Thus, they were not seen by the audience when the shadow was created. Pekingese puppets were more delicate and smaller. They were created out of thin, translucent leather (usually taken from the belly of a peacock). They were painted with vibrant paints, thus they cast a very colorful shadow. The thin rods which controlled their movements were attached to a leather collar at the neck of the puppet. The rods ran parallel to the bodies of the puppet then turned at a ninety degree angle to connect to the neck. While these rods were visible when the shadow was cast, they laid outside the shadow of the puppet; thus they did not interfere with the appearance of the figure. The rods attached at the necks to facilitate the use of multiple heads with one body. When the heads were not being used, they were stored in a muslin book or fabric lined box. The heads were always removed at night. This was in keeping with the old superstition that if left intact, the puppets would come to life at night. Some puppeteers went so far as to store the heads in one box and the bodies in another, to further reduce the possibility of reanimating puppets. Shadow puppetry is said to have reached its highest point of artistic development in the seventh century before becoming a tool of the government.
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only woman known to have owned a private theatre troupe. Developing a private theatre troupe represented a huge investment; the owners first pick potential actors from poor families or slave households and from performing schools, with more emphasis on their looks. and the owners would invest in further training for these people. The troupe leaders may hire retired actors to teach the actors, and some were trained actors themselves. The actors underwent strict training in singing, dancing, and role-playing techniques, which may take as long as eight years. While the performers were highly skilled, they were also regarded to be of low status in Ming society, as it was common practice for them to provide sexual services, both heterosexual and homosexual. Some actresses become their owners' wives or concubines The common career span for actors were ten years. When actors passed their teenage years, they had the freedom to retire.
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848:, also became popular, and the mixing of Huizhou and Hanju produced the Peking Opera. Peking opera inherited many stories form Kunqu opera, but other styles of opera, such as the Clapper opera, which were popular with the common people had greater influence on its development. Teahouses which sprang up in Beijing staged Peking operas. The popularity of Kunqu, referred to as Yabu (雅部, "elegant drama"), declined as it came under competition from a variety of operas including
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247:(reigned 141–87 BC). While most probably this was also a spectator sport, both textual and archaeological evidence suggests that performers were dressed in fixed roles and performed according to a plot. One such story the wrestlers re-enacted was the battle between a tiger and a magician named "Lord Huang from the East Sea" (東海黃公). Han-period murals discovered from an aristocratic tomb in
322:(踏謡娘), which relates the story of a wife battered by her drunken husband, the song and dance drama was initially performed by a man dressed as a woman. The stories told in of these song-and-dance dramas are simple, but they are thought to be the earliest pieces of musical theatre in China, and the precursors to the more sophisticated later forms of Chinese opera.
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When they dance in two rows and lunge in all directions with their weapons, they are spreading the awe of his military might throughout the
Central States. When they divide up and advance in twos, it indicates that the enterprise has now been successfully accomplished. When they stand for a long time
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Professional public troupes did not thrive until Ming elite class started to collapse. Due to the Ming's
Confucian influence of gender separation, public theatres were dominated by males. Confucian influences extended to the plays; Ming plays often conveyed Confucian teachings, especially in private
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Private theatre troupes featured prominently during Ming China, and government officials, rich merchants, and eunuchs may manage private theatre troupes to entertainment guests in stages built in their private residences, or a sign of status. A female courtesan in late Ming named Ma
Xianglan was the
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tunes lacked formal rules, was more uninhibited and exciting, therefore more appealing to the local classes and easily fused with local musical styles and produced many high-pitched tunes in numerous local operas. Another important development was the emergence of
Shaanxi Opera in the Northwest with
376:, popular plays involving drama and music began to be developed, and by the 12th century, the term xìqǔ (戲曲) to mean Chinese opera began to be used this new form of theatrical entertainment. The development of theatre during the Song dynasty may also have been influenced by a Tang Buddhist tradition
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performed by the puppets. Both styles generally performed plays depicting great adventure and fantasy, rarely was this very stylized form of theatre used for political propaganda. Cantonese shadow puppets were the larger of the two. They were built using thick leather which created more substantial
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Modern
Chinese theatre and drama has changed quite a lot compared to the past. The influences of the modern world affected the form of music/ theatre/ drama the Chinese were having. The rapid development of the country affected theater plays. The current Chinese theater has been developed to a new
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The standard types of Ming actors includes Cai, Hui, and Zhi. Cai is extraordinary talent, and Hui is the wisdom that enables them to utilize their skills with flexibility. The most important one is Zhi, the ability to combine practical and abstract beauty on stage. As for techniques, the actors
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employed professional entertainers which included not only dancers and musicians but also actors. The earliest court actors were likely clowns who pantomimed, danced, sang, and performed comedy. One of the most famous actors from this period was You Meng or Jester Meng (優孟), a giant who served
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In various regions, local forms of opera flourished, and became popular in major cities by the end of the Qing dynasty and early
Republican era. Some of these may developed from folk song-and-dance performances that evolved from "The Dancing Singing Woman" (踏謡娘) style of theatre, such as the
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The Ming imperial court enjoyed opera, and Ming emperors generally kept their music entertainments within the palace. Ming theatre, however, had less freedom than the previous dynasty, Yuan. In the Yuan and early Song period, some plays may include a role of the emperor, however, Ming
Emperor
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By the early 20th century, non-singing theatrical forms began to appear under the influence of
Western dramas and stage plays. Shanghai, where Western drama was first staged by Western expatriate communities in China in 1850, was the birthplace of modern Chinese stage plays. Students of
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extraction — was so passionate about theatre that he enjoyed acting himself. During his reign, he appointed three actors to prefect-ship and in the process alienated his army. In 926, after just 3 years on the throne, he was killed in a mutiny led by a former actor named
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first emerged as a recognized form of theatre in China. There were two distinct forms of shadow puppetry, Pekingese (northern) and
Cantonese (southern). The two styles were differentiated by the method of making the puppets and the positioning of the rods on the
567:) characters, with the singing courtesans playing the main male or female characters, but some are played exclusively by male actors. Over time subcategories of male and female roles (such as lead and supporting roles, young, old or comic roles) also emerged.
380:(變文), which mixed speech with song and used by monks to communicate Buddhist idea to the illiterate masses, but became popular entertainment during the Song dynasty. The narrative ballad and story-telling forms influenced Song dramas. Buddhist stories such as
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era, the government set up a special department for the improvement of drama. The first national opera festival was organized where numerous operas from around country as well as operas identified as "model plays" were performed. Opera was modified, and
1048:"What festival is this, with lamps filling in the hall, And golden hair pins dancing by night alongside of flowery lutes? A fragrance breeze flutters the sleeve and a red haze arises, While jade wrists flit round and round in mazy flight."
150:, the late prime minister of Chu, he is said to have spent a year imitating Sunshu Ao's speech and mannerism. Finally he performed his role at a banquet and successfully appealed to King Zhuang who then granted land to Sunshu Ao's son.
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Sleeve movements were an important feature of dancing technique in ancient China and were considered essential to add the grace of the performer. There are many references to the beauty of a dancer's sleeves to be found in old
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form: people do not watch plays from theater, they watch it at homes or on their TV. In addition to music theater, the modern world inspired new forms of drama, including what became known as the spoken drama (
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prohibited actors from impersonating any imperial members, high officials, or well-respected figures, although such restrictions were not always observed by opera troupes who performed for commoners in public
981:, Model opera had monopolized the theatre. However, after the Cultural Revolution, traditional forms were revived and with less restrictions, new plays influenced by Western theatre also began to be staged.
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entered a golden age, with numerous new plays being written. Peking Opera also became popular in Shanghai, where new dramas in the form serialized dramas emerged. The best-known actor of Peking opera was
840:'s reign. The Huizhou opera troupes, which performed operas with diverse tune patterns including Kunqu, Clapper Opera and the Erhuang melody prove to be the most popular. Hanju Opera, popular along the
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in nature. Chinese theatre can trace its origin back a few millennia to ancient China, but the Chinese opera started to develop in the 12th century. Western forms like the spoken drama,
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Liu Xuan刘轩,《牡丹亭·写真》昆剧舞台演出史考略 (On A History of the Performance of Kunqu Opera Portrait in The Peony Pavilion), 中华戏曲(Chinese Traditional Opera) 2017, (02), 197-213 (February 2017)
1608:王园园, “明代戏曲中女性德行意识” (Female Virtue Consciousness in the Opera of Ming Dynasty), 闽西职业技术学院学报(Journal of Minxi Vocational and Technical College) 2018, 20(04), 80-84 (April 2018).
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needed to excel in singing, dancing, and role-playing. These actors developed outstanding singing and dancing techniques to serve the ultimate goal of creating a character.
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theatre troupes. For instance, as women desired more equality towards late Ming, Wang Tingne wrote a play called Shi Hou Ji (狮吼记) that emphasized male authority over women.
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of the Song and Yuan dynasties was considered a low art form due to its unsophisticated literary style, and its plays were often written by anonymous authors. The first
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Shen, Grant. "Acting in the Private Theatre of the Ming Dynasty," in HIEA 124 Life in Ming China, edited by Sarah Schneewind, p. 289-311 (Imprints, 2019, p. 290.
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became popular. Peking opera developed from different opera styles. In 1790. various local opera troupes performed in Beijing in celebration of the 55th year of
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in the Yuan dynasty became a more sophisticated form that has a four- or five-act structure with a prologue. Each act is a musical piece based on a different
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During the Ming period (1368-1644), Chinese theatre may be divided into three categories by audience: imperial court, social elite, and the general public.
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who used Kunshan tunes. Kunqu was regarded as an elegant part of the culture; it was promoted by scholars, and therefore became highly influential.
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Xu, Peng (2015). "The Music Teacher: The Professionalization of Singing and the Development of Erotic Vocal Style During Late Ming China".
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from local folk customs and musical forms. This has a set length and a full narrative, and the actors performed with speech and songs.
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performers usually clap with the audience at the end of a performance; the return applause is a sign of appreciation to the audience.
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are thought to be the forerunners of the fixed role categories of later Chinese opera, particularly of its comic chou (丑) characters.
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and other regional forms, such as such as Haiyan, Yuyao, an Yiyang tunes developed in Zhejiang, gradually replaced the northern
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Fong, Kuang-Yu and Kaplin, Stephen. "Theatre on a Tabletop: Puppetry for Small Spaces". Charlottesville, New Plays, Inc. 2003.
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dynasty (319–351). In its early form, it was a simple comic drama involving only two performers, where a corrupt officer,
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created Kunshan tunes modified from tunes of Haiyan from near Hangzhou and Yiyang of Jiangxi, and he combined the
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spread widely in the Southern Song, and theatrical entertainment flourished in its capital Lin'an (present day
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on the other hand developed from a form of opera popular south of the Yangtze River called Tanhuang, while
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known collectively as Huabu (花部, "flowery drama"). A range of other regional operas also emerged, such as
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a two-phrase structure and clapper-based instrumentation, introducing a new form of musical style called
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Mi Zhao, “Ma Xianglan and Wang Zhideng Onstage and Offstage,” Asian Theatre Journal 34 #1 (Spring 2017).
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began honed their craft on campus. Among the most important plays produced in the early period was
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in their dancing positions, they are waiting for the arrival of the rulers of the various states.
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The Ming dynasty play writers were mostly educated and hold relatively high social status, and
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is a style of traditional Chinese comedic performance in the form of a monologue or dialogue.
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became themes in plays, and the one on Mulian was the first Chinese drama of great length.
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as possible lyrics of songs accompanying court dances from the early or mid-Zhou dynasty.
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Mural from a Song dynasty tomb in Henan, depicting a dancer and accompanying musicians.
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dynasty, a masked dance called the Big Face (大面, which can mean "mask", alternatively
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has a long and complex history. Traditional Chinese theatre, generally in the form of
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that tells the story of a grieving son who sought a tiger that killed his father. In
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Opera; for example, Huangxiao Flower-Drum opera of Hubei evolved into Chuju (楚劇) in
476:, showing two women playing male roles, a popular convention during the Song dynasty
457:(丑, clown) appeared in the Song era, and scripts referred to the roles such as the
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Towards a Modern Zen Theatre: Gao Xingjian and Chinese Theatre Experimentalism
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Flower-Drum (花鼓) Opera, Flower-Lantern (花燈) Opera, Tea-Picking (採茶) Opera and
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was also known as Northern tune (北曲) to distinguish it from the Southern form
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Chinese Theories of Theater and Performance from Confucius to the Present
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Chinese Theories of Theater and Performance from Confucius to the Present
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243:) flourished and became one of the so-called "Hundred Shows" (百戲) under
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Chinese theatre production pre-1912, and probably in Shandong province
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with its own independent development. Music is incidental to Song Jin
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2178:. University of London: School of Oriental and African Studies, 2000.
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was a small-scale comic form of theatre, and was distinct from Yuan
283:, was ridiculed by a jester named Grey Hawk (蒼鶻). The characters in
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began to be developed in the Song and Jin dynasties. Song and Jin
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2171:. From 1840 to the Present Day. London, Thames & Hudson, 1975.
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who ended the Ming dynasty, later influencing the development of
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are considered one of the important forms of Chinese literature,
947:, whose performances spread the fame of Peking opera worldwide.
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2248:
429:). Among the earliest surviving scripts is Southern Song work,
166:(551–479 BC) explaining the Great Warrior Dance or Dawu Dance (
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Sun, Mei (1998). "The Division between 'Nanxi' and 'Chuanqi".
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with political message was created. The first Model Opera was
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1046 BC, and how he founded the Zhou dynasty with the help of
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Dolby, William (1983). "Early Chinese Plays and Theater". In
225:(206 BC–220 AD), a wrestling show called Horn-Butting Show (
146:(reigned 613–591 BC). After meeting the impoverished son of
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were known to have performed the first modern Chinese play
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where plucked string instruments are preferred. The first
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had developed into a more complex dramatic form known as
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who went into battle wearing a mask. Another was called
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which depicts entertainers at an aristocratic banquet.
29:"Chinese theatre" redirects here. For other uses, see
2063:
Chinese Theatre: From Its Origins to the Present Day
1430:
Chinese Theater: From Its Origins to the Present Day
2578:
2538:
2280:
1719:Tian Yuan Tan, "The Sovereign and the Theatre," in
1706:Tian Yuan Tan, “The Sovereign and the Theatre,” in
1690:Tian Yuan Tan, “The Sovereign and the Theatre,” in
570:Among the best-known dramatists of the period were
390:(西廂記諸宮調) by Dong Jieyuan (董解元) (later adapted into
290:Various song and dance dramas developed during the
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1878:
1876:
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888:Opera formed from Lianhualao and Yangge in Hebei.
271:(參軍戲, or Adjutant Play) which originated from the
110:mentions shamanistic dancing and singing. For the
1915:
1913:
732:rhythms which often used flute, and the northern
1354:. University of Michigan Press. pp. 28–29.
66:did not arrive in China until the 20th century.
527:became the dominant form of theatre during the
388:The Romance of the Western Chamber Zhu Gongdiao
263:Six Dynasties, Tang dynasty, and Five Dynasties
202:
88:Theatre in China dates back to as early as the
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2185:. Honolulu, University of Hawaii Press, 2002.
1604:
1602:
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1322:. Cambridge University Press. pp. 1–12.
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314:(撥頭, also 缽頭), a masked dance drama from the
8:
1556:. University of Michigan Press. p. 41.
137:The Zhou royal court as well as the various
2030:. North Charleston: BookSurge. p. 55.
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1847:
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124:suggests that in the 4th or 3rd century BC
100:records reference rain dances performed by
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2253:
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759:tunes fused with Kunqu and spread widely.
559:plays were focused on the principal male (
684:, and by the middle of the Ming dynasty,
213:Part of a second-century tomb mural from
2134:Historical Dictionary of Chinese Theater
1343:
1341:
1339:
724:works were created mainly by scholars.
664:, and was highly regarded by the first
407:In Southern Song, a form of play called
35:
2086:Siu, Wang-Ngai; Lovrick, Peter (1997).
2027:China, Japan, Korea Culture and Customs
2013:. London: Simson Shand LTD. p. 96.
1107:
993:Scene from a public performance in the
2111:Elite Theatre in Ming China, 1368–1644
1410:"The Early History of Chinese Theatre"
768:(板腔). Its spread was facilitated by a
574:(many of his works survive, including
267:An early form of Chinese drama is the
188:'s overthrow of the Shang dynasty in
118:1046 BC – 256 BC), evidence from the
7:
1057:During the dynasty of Empress Ping,
465:rather than the characters' names.
2200:heatre and the Actor in Performance
2169:The Chinese Theatre in Modern Times
1679:Culture, Courtiers, and Competition
1579:American Journal of Chinese Studies
1414:Asian Traditional Theatre and Dance
1319:Music from the Tang Court: Volume 5
1303:Asian Traditional Theatre and Dance
656:, written in the late Yuan period.
1951:
1935:
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1793:Harvard Journal of Asiatic Studies
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903:A Shameful Story About Officialdom
880:. Wuxi Opera, Shanghai Opera, and
864:, Shandong Laizhou clapper opera,
433:(張協狀元). Specialised roles such as
25:
2088:Chinese Opera: Images and Stories
1971:中国舞台上的塞缪尔·贝克特:跨文化戏剧演出研究:1964~2011
1234:
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974:Taking Tiger Mountain by Strategy
306:, 蘭陵王), was created in honour of
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705:A scene from the most famous of
31:Chinese theatre (disambiguation)
2161:. Berlin, Henschelverlag, 1963.
2024:Brown, Ju; Brown, John (2006).
1893:Cross Dressing in Chinese Opera
1550:Faye Chunfang Fei, ed. (2002).
1348:Faye Chunfang Fei, ed. (2002).
694:, which further developed into
2591:British Indian Ocean Territory
2225:. Cambridge University Press.
2059:; Wichmann, Elizabeth (eds.).
2011:The Classical Theatre Of China
1433:. University of Hawaii Press.
1374:
1249:
1028:) of the transatlantic stage.
1024:
1015:
1007:
755:In the Ming dynasty, southern
594:(whose representative work is
587:Romance of the Western Chamber
393:Romance of the Western Chamber
239:
180:
155:Records of the Grand Historian
40:Performers in a production in
1:
2109:Shen, Grant Guangren (2005).
1427:Colin Mackerras, ed. (1988).
1392:China Culture Information Net
1316:Laurence Picken, ed. (1985).
346:Song, Jin, and Yuan dynasties
189:
115:
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1299:"The Tang Dynasty (618–907)"
1066:, as opposed to the type of
646:work with a known author is
512:stage c. 1324, found in the
498:with incomplete narratives.
431:The No. 1 Scholar Zhang Xie
956:The Red Detachment of Women
480:A form of theatre known as
352:History of the Song dynasty
329:(923–937) founding emperor
302:代面, and it was also called
184:), which told the story of
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2205:Cambridge University Press
2069:University of Hawaii Press
964:People's Republic of China
627:
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1984:– via Google Books.
1443:– via Google Books.
1096:List of theatres in China
995:Jade Dragon Snow Mountain
832:During the Qing dynasty,
780:during the Qing dynasty.
539:and Lin'an. Yuan dynasty
383:Mulian Rescues His Mother
320:The Dancing Singing Woman
230:
171:
162:contains a passage about
84:Timeline of Chinese music
2340:East Timor (Timor-Leste)
672:. It became a model for
531:in major cities such as
80:History of Chinese dance
2670:Chinese performing arts
2601:Cocos (Keeling) Islands
938:In the Republican era,
660:elevated the status of
333:(885–926) — who was of
1996:"Modern Chinese Drama"
1050:
998:
985:Modern Chinese theatre
959:
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828:(貴妃醉酒) in Peking Opera
800:
715:
577:The Injustice to Dou E
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505:A mural depicting the
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369:
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2183:Acting the Right Part
1806:10.1353/jas.2015.0016
1721:Long Live the Emperor
1708:Long Live the Emperor
1692:Long Live the Emperor
1398:on December 25, 2013.
1287:on February 24, 2007.
1046:
992:
953:
826:The Drunken Concubine
823:
798:
704:
504:
471:
367:
350:Further information:
304:The Prince of Lanling
212:
74:Further information:
39:
2515:United Arab Emirates
2009:Scott, A.C. (1957).
907:Guan Chang Chou Shi'
742:Washing Silken Gauze
596:Autumn in Han Palace
294:period. During the
2542:limited recognition
2138:The Scarecrow Press
1012:traditional Chinese
979:Cultural Revolution
612:. Verses from Yuan
400:) was created from
60:western-style opera
2174:Zhao, Henry Y. H.
2157:Obraszow, Sergei.
1004:simplified Chinese
999:
960:
899:St. John's College
868:and Fujian opera.
830:
801:
716:
712:The Peony Pavilion
605:The Orphan of Zhao
522:
478:
439:(旦, dàn, female),
417:(戲文) developed in
370:
219:
144:King Zhuang of Chu
92:(16th century BC?–
45:
2647:
2646:
2584:other territories
2147:978-0-8108-5514-4
1035:, sleeve movement
824:A performance of
748:) was created by
630:Chuanqi (theatre)
514:Guangsheng Temple
131:Classic of Poetry
107:Book of Documents
76:Chinese shamanism
16:(Redirected from
2682:
2675:Theatre of China
2637:
2627:
2626:
2596:Christmas Island
2282:Sovereign states
2269:
2262:
2255:
2246:
2236:
2165:Mackerras, Colin
2159:Theater in China
2151:
2132:Ye, Tan (2008).
2128:
2105:
2082:
2066:
2057:Mackerras, Colin
2042:
2041:
2021:
2015:
2014:
2006:
2000:
1999:
1992:
1986:
1985:
1965:
1959:
1949:
1943:
1933:
1927:
1917:
1908:
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1515:
1509:
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1483:
1477:
1467:
1461:
1451:
1445:
1444:
1424:
1418:
1417:
1406:
1400:
1399:
1394:. Archived from
1384:
1378:
1372:
1366:
1365:
1345:
1334:
1333:
1313:
1307:
1306:
1295:
1289:
1288:
1283:. Archived from
1277:
1271:
1270:
1259:
1253:
1247:
1238:
1232:
1226:
1220:
1214:
1208:
1202:
1196:
1190:
1184:
1178:
1172:
1166:
1160:
1154:
1148:
1142:
1136:
1130:
1124:
1118:
1112:
1026:
1017:
1009:
997:Open Air Theatre
838:Qianlong Emperor
658:Tale of the Pipa
649:Tale of the Pipa
602:(best known for
241:
232:
191:
182:
173:
117:
95:
48:Theatre of China
21:
2690:
2689:
2685:
2684:
2683:
2681:
2680:
2679:
2650:
2649:
2648:
2643:
2615:
2583:
2574:
2555:Northern Cyprus
2541:
2534:
2276:
2275:Theatre of Asia
2273:
2243:
2233:
2223:Chinese Theatre
2217:
2181:Chen, Xiaomei.
2148:
2131:
2125:
2108:
2102:
2085:
2079:
2054:
2051:
2046:
2045:
2038:
2023:
2022:
2018:
2008:
2007:
2003:
1994:
1993:
1989:
1982:
1967:
1966:
1962:
1950:
1946:
1934:
1930:
1918:
1911:
1903:
1899:
1891:Leung Li, Siu.
1890:
1886:
1881:
1872:
1864:
1860:
1852:
1845:
1837:
1833:
1825:
1821:
1789:
1788:
1784:
1776:
1772:
1764:
1760:
1755:
1751:
1747:, pp. 129, 132.
1743:
1739:
1731:
1727:
1718:
1714:
1705:
1698:
1689:
1685:
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1408:
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1403:
1386:
1385:
1381:
1373:
1369:
1362:
1347:
1346:
1337:
1330:
1315:
1314:
1310:
1297:
1296:
1292:
1281:"Sichuan Opera"
1279:
1278:
1274:
1261:
1260:
1256:
1248:
1241:
1233:
1229:
1221:
1217:
1209:
1205:
1197:
1193:
1187:Siu and Lovrick
1185:
1181:
1173:
1169:
1161:
1157:
1149:
1145:
1137:
1133:
1127:Siu and Lovrick
1125:
1121:
1117:, pp. 1–6.
1113:
1109:
1104:
1092:
1077:
1059:shadow puppetry
1055:
1037:
987:
940:Cantonese opera
915:Boxer Rebellion
894:
866:Cantonese opera
818:
636:
628:Main articles:
626:
518:Shanxi province
362:
348:
316:Western Regions
265:
186:King Wu of Zhou
86:
72:
34:
23:
22:
18:Chinese Theater
15:
12:
11:
5:
2688:
2686:
2678:
2677:
2672:
2667:
2665:Opera in China
2662:
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2651:
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2241:External links
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1800:(2): 259–297.
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986:
983:
913:(六君子) and the
893:
890:
882:Shaoxing Opera
817:
814:
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563:) and female (
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139:ancient states
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2232:9780521186667
2228:
2224:
2220:
2216:
2214:
2213:0-521-57090-5
2210:
2206:
2203:. Cambridge,
2202:
2201:
2196:
2195:
2190:
2187:
2184:
2180:
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2170:
2166:
2163:
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2149:
2143:
2139:
2135:
2130:
2126:
2124:0-415-34326-7
2120:
2116:
2112:
2107:
2103:
2101:0-7748-0592-7
2097:
2093:
2089:
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2078:0-8248-0813-4
2074:
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2037:1-4196-4893-4
2033:
2029:
2028:
2020:
2017:
2012:
2005:
2002:
1997:
1991:
1988:
1983:
1981:9787310049905
1977:
1973:
1972:
1964:
1961:
1957:
1953:
1948:
1945:
1941:
1937:
1932:
1929:
1925:
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1916:
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1901:
1898:
1894:
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1879:
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1875:
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1862:
1859:
1856:, pp. 59, 63.
1855:
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1713:
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1697:
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1687:
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1680:
1677:Lam, Joseph.
1674:
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1665:
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1659:
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1627:
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1597:
1592:
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1585:(2): 248–56.
1584:
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1049:
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1042:Chinese poems
1034:
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920:
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911:Six Gentlemen
908:
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900:
891:
889:
887:
883:
879:
875:
869:
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863:
859:
855:
851:
847:
843:
842:Yangtze River
839:
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827:
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472:Song dynasty
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90:Shang dynasty
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61:
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53:
52:Chinese opera
49:
43:
38:
32:
27:
19:
2580:Dependencies
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2475:Saudi Arabia
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2110:
2087:
2062:
2049:Bibliography
2026:
2019:
2010:
2004:
1990:
1970:
1968:施清婧 (2015).
1963:
1947:
1931:
1900:
1892:
1887:
1861:
1834:
1829:, pp. 49–51.
1822:
1797:
1791:
1785:
1773:
1768:, pp. 36-40.
1761:
1752:
1740:
1735:, pp. 28–29.
1728:
1720:
1715:
1707:
1691:
1686:
1678:
1673:
1645:
1629:
1613:
1582:
1578:
1572:
1552:
1545:
1529:
1513:
1497:
1481:
1465:
1449:
1429:
1422:
1413:
1404:
1396:the original
1391:
1382:
1370:
1350:
1318:
1311:
1302:
1293:
1285:the original
1275:
1266:
1257:
1230:
1225:, pp. 11–12.
1218:
1206:
1194:
1182:
1177:, pp. 10–11.
1170:
1158:
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1122:
1110:
1078:
1056:
1047:
1038:
1032:
1023:
1000:
972:
961:
954:
937:
932:Thunderstorm
930:
927:Gao Xingjian
906:
902:
895:
892:20th century
870:
854:Shanxi opera
850:Peking Opera
834:Peking opera
831:
825:
816:Qing dynasty
810:
806:
802:
785:
782:
778:Peking Opera
765:
760:
756:
754:
750:Liang Chenyu
745:
741:
733:
729:
719:
717:
710:
689:
685:
681:
677:
674:Ming dynasty
661:
657:
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643:
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624:Ming dynasty
613:
603:
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585:
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572:Guan Hanqing
569:
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289:
285:Canjun Opera
284:
276:
269:Canjun Opera
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266:
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220:
203:
198:Duke of Shao
194:Duke of Zhou
179:
153:
152:
136:
129:
126:State of Chu
119:
112:Zhou dynasty
105:
104:, while the
87:
47:
46:
26:
2660:Asian drama
2639:Asia portal
2540:States with
2460:Philippines
2400:South Korea
2395:North Korea
2290:Afghanistan
1974:. 南开大学出版社.
1954:, pp.
1938:, pp.
1922:, pp.
1652:, pp.
1636:, pp.
1620:, pp.
1536:, pp.
1520:, pp.
1488:, pp.
1472:, pp.
1456:, pp.
1213:, pp. 9–10.
1053:Shadow play
969:Model opera
945:Mei Lanfang
935:by Cao Yu.
862:Hebei opera
858:Henan opera
746:Huan Sha Ji
726:Wei Liangfu
600:Ji Junxiang
584:(who wrote
445:(生, male),
356:Nanxi opera
296:Northern Qi
223:Han dynasty
221:During the
98:Oracle bone
2654:Categories
2520:Uzbekistan
2495:Tajikistan
2410:Kyrgyzstan
2390:Kazakhstan
2310:Bangladesh
2300:Azerbaijan
1504:, p.
1153:, pp. 8–9.
1102:References
1080:Xiangsheng
1075:Xiangsheng
774:Li Zicheng
592:Ma Zhiyuan
582:Wang Shifu
451:(净,) and
398:Wang Shifu
327:Later Tang
273:Later Zhao
245:Emperor Wu
96:1046 BC).
2606:Hong Kong
2560:Palestine
2485:Sri Lanka
2480:Singapore
2360:Indonesia
2194:Chinese T
2189:Riley, Jo
2115:Routledge
2092:UBC Press
1814:193410120
1388:"Theatre"
1377:, p. 336.
977:. By the
923:Hong Shen
164:Confucius
160:Sima Qian
148:Sunshu Ao
2629:Category
2550:Abkhazia
2500:Thailand
2455:Pakistan
2435:Mongolia
2430:Maldives
2425:Malaysia
2325:Cambodia
2221:(2012).
2207:, 1997,
1907:, p. 99.
1868:, p. 67.
1841:, p. 45.
1780:, p. 38.
1681:. p. 290
1591:44288587
1237:, p. 12.
1201:, p. 11.
1090:See also
792:theatre.
766:banqiang
709:operas,
668:Emperor
654:Gao Ming
598:, 漢宮秋),
553:gongdiao
427:Hangzhou
331:Li Cunxu
281:adjutant
249:Dahuting
240:Jiǎodǐxì
215:Dahuting
2525:Vietnam
2440:Myanmar
2420:Lebanon
2350:Georgia
2305:Bahrain
2295:Armenia
2219:Fu, Jin
1952:Fu 2012
1936:Fu 2012
1920:Fu 2012
1895:. p. 57
1650:Fu 2012
1634:Fu 2012
1618:Fu 2012
1534:Fu 2012
1518:Fu 2012
1502:Fu 2012
1486:Fu 2012
1470:Fu 2012
1454:Fu 2012
1267:中國文化研究院
1263:"唐代參軍戲"
1252:, p. 3.
1189:, p. 5.
1165:, p. 9.
1141:, p. 8.
1129:, p. 4.
1115:Fu 2012
1084:Chinese
1064:puppets
962:In the
905:(官场丑事,
846:Hanshui
770:Shaanxi
740:opera,
721:chuanqi
698:Opera.
691:chuanqi
676:drama.
608:), and
537:Luoyang
533:Kaifeng
419:Wenzhou
402:bianwen
378:bianwen
372:In the
300:daimian
279:or the
227:Chinese
181:Dàwǔ Wǔ
168:Chinese
102:shamans
70:History
56:musical
42:Chengdu
2570:Taiwan
2505:Turkey
2470:Russia
2405:Kuwait
2385:Jordan
2375:Israel
2335:Cyprus
2320:Brunei
2315:Bhutan
2229:
2211:
2144:
2121:
2098:
2075:
2034:
1978:
1812:
1589:
1560:
1437:
1358:
1326:
1022::
1020:pinyin
1014::
1006::
925:, and
919:Cao Yu
886:Pingju
874:Yangge
772:rebel
761:Yiyang
757:yiyang
744:(浣紗記,
670:Hongwu
620:(元曲).
618:yuanqu
610:Bai Pu
358:, and
335:Shatuo
277:Canjun
237::
235:pinyin
229::
178::
176:pinyin
170::
121:Chu Ci
82:, and
64:ballet
62:, and
2611:Macau
2530:Yemen
2490:Syria
2465:Qatar
2445:Nepal
2380:Japan
2355:India
2345:Egypt
2330:China
1940:79–81
1924:75–75
1810:S2CID
1654:68–73
1622:48–50
1587:JSTOR
1538:22–33
1522:24–25
1490:20–23
1474:16–18
1458:12–13
1235:Dolby
1223:Dolby
1211:Dolby
1199:Dolby
1175:Dolby
1163:Dolby
1151:Dolby
1139:Dolby
1025:Huàjù
878:Wuhan
789:Taizu
738:Kunqu
730:nanxi
707:kunqu
696:Kunqu
686:nanxi
678:Nanxi
662:nanxi
644:nanxi
640:nanxi
634:Kunqu
561:Sheng
545:nanxi
463:Sheng
442:Sheng
423:Nanxi
415:Xiwen
410:nanxi
312:Botou
257:Henan
253:Xinmi
54:, is
2450:Oman
2415:Laos
2370:Iraq
2365:Iran
2227:ISBN
2209:ISBN
2142:ISBN
2119:ISBN
2096:ISBN
2073:ISBN
2032:ISBN
1976:ISBN
1905:Shen
1866:Shen
1854:Shen
1839:Shen
1827:Shen
1778:Shen
1766:Shen
1745:Shen
1733:Shen
1558:ISBN
1435:ISBN
1356:ISBN
1324:ISBN
1068:play
1033:Hsiu
844:and
734:zaju
682:zaju
666:Ming
638:The
632:and
614:zaju
557:Zaju
549:Zaju
541:zaju
525:Zaju
510:zaju
507:Yuan
496:zaju
492:zaju
488:zaju
483:zaju
474:zaju
454:Chou
448:Jing
360:Zaju
325:The
196:and
2582:and
1956:3–4
1802:doi
652:by
590:),
580:),
565:Dan
516:of
461:or
459:Dan
436:Dan
413:or
396:by
231:角觝戲
172:大武舞
158:by
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1390:.
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1301:.
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1016:話劇
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1008:话剧
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860:,
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