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Wuju emerged in the 1950s as China sought to develop a national dance drama. This was a challenging project, as traditional Chinese theatre provided little precedence for non-verbal dance-based narration. [3] Influences came from the Soviet Union, with which the newly established People's Republic of China was enjoying a strong relationship.
People's Republic of China: Baak Doi leaves China in 1952 and relocates to Hong Kong. Mao Zedong and CCP evolved patriotic music into revolutionary music. Hong Kong: Continuation of Shidaiqu in Hong Kong. Republic of China / Taiwan: Development of Taiwanese mandopop. Native Hokkien pop phased out by Kuomintang in favor of mandopop.
Download as PDF; Printable version; In other projects ... el musical; Blood Brothers (musical) ... Musicals set in the 1950s.
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Shidaiqu music is rooted in both traditional Chinese folk music and the introduction of Western jazz during the years when Shanghai was under the Shanghai International Settlement. In the 1920s the intellectual elite in Shanghai and Beijing embraced the influx of Western music and movies that entered through trade. [ 5 ]
A second wave followed National Music Week, 1956, which lasted till the last geju Ayiguli in 1966 on the eve of the Cultural Revolution. [10] 1956 - Chen Zi and Liang Kexiang: Spring Blossoms Yingchunhua kaile (libretto by Lu Cang, Wang Lie) 1956 - Du Yu: Mongolian themed folk opera The Gada plum blossoms based on the Mongolian folk song Gada ...
Download as PDF; Printable version; In other projects ... History of China in plays (2 C, 1 P) M. Musicals set in China (2 C, 6 P) Pages in category "Plays set in China"
In the 1960s Hong Kong counted the style as much as an opera as it was a music genre. Today it is more of a traditional performance art with efforts of revival in mainland China, Hong Kong, and Taiwan, and mostly sung in Mandarin. In 2006, Huangmei Opera was selected for the first batch of China's national intangible cultural heritage.