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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.
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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]
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.
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" The following 11 pages are in this category, out of 11 ...
Articles and events specifically related to the decade 1950s in China. 1900s; 1910s; 1920s; 1930s; 1940s; 1950s; 1960s; 1970s; ... Cold War history of China (5 C, 36 ...
The film and music industry had already begun to shift to Hong Kong in the '40s, and by the 1950s Hong Kong had become the centre of the entertainment industry. [1] While some of the seven continued to perform for many years, Zhou Xuan died in 1957, Yoshiko retired from entertainment in 1958, and Bai Guang stopped recording in 1959.