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Thus, music, singing, martial arts, acrobatics and acting are all featured in Cantonese opera. Most of the plots are based on Chinese history and famous Chinese classics and myths. Also, the culture and philosophies of the Chinese people can be seen in the plays. Virtues (like loyalty, love, patriotism and faithfulness) are often reflected by ...
Pages in category "Musicals set in the 1950s" The following 37 pages are in this category, out of 37 total. ... Bésame mucho, el musical; Blood Brothers (musical)
Pages in category "Musicals set in China" The following 6 pages are in this category, out of 6 total. ... Hit the Deck (musical) This page was last ...
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 ...
Author Huo Wang, a citizen in China at the time, wrote in 1998 in reference to the Cultural Revolution era: "Model operas are the only art form left in the whole of China. You cannot escape from listening to them. You hear them every time you turn on the radio. You hear them from loudspeakers every time you go outside". [1]
An early form of Chinese drama is the Canjun Opera (參軍戲, or Adjutant Play) which originated from the Later Zhao Dynasty (319–351 AD). [10] [11] [12] In its early form, it was a simple comic drama involving only two performers, where a corrupt officer, Canjun or the adjutant, was ridiculed by a jester named Grey Hawk (蒼鶻). [10]
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Pages in category "1950s in China" The following 29 pages are in this category, out of 29 total. This list may not reflect recent changes. 0–9. 1950 in China;