Search results
Results from the WOW.Com Content Network
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.
Traditional Chinese opera (traditional Chinese: 戲曲; simplified Chinese: 戏曲; pinyin: xìqǔ; Jyutping: hei3 kuk1), or Xiqu, is a form of musical theatre in China with roots going back to the early periods in China. It is an amalgamation of various art forms that existed in ancient China, and evolved gradually over more than a thousand ...
The new revolutionary theatrical forms were praised as "shining victories" of the Cultural Revolution and Mao Zedong Thought. An article published in the Red Flag journal under a pen name stated, "The glorious achievement of revolutionary operas marked a revolution in art by the proletariat. It is the major component of our country's ...
Pages in category "Musicals set in the 1950s" The following 38 pages are in this category, out of 38 total. ... Bésame mucho, el musical; Blood Brothers (musical)
Main page; Contents; Current events; Random article; About Wikipedia; Contact us; Pages for logged out editors learn more
Other notable geju companies around China include the Liaoning geju yuan, based in Shenyang and others. The status of geju has been boosted by availability of new world-class venues such as the China's National Centre for the Performing Arts in Beijing ("The Big Egg" on Tiananmen Square East) and the new Shanghai Grand Theatre .
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.
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.