"On an autumn morning in 1793, Lord Macartney waited to be ushered into the imperial summer retreat to take part in the celebration of the Qianlong Emperor's 82nd birthday. It was a long day; the celebration drama, Ascendant Peace in the Four Seas, lasted five hours. There were many scenes of fish, turtles and other sea creatures, and Macartney guessed it must have had something to do with the marriage between the ocean and land. He could not have been more wrong…" For the Qing court, entertaining foreign visitors was only one of the numerous ritual and political purposes dramas served. Delving into a rich collection of firsthand materials, the author meticulously excavates and combs historical data including court records, eunuchs' memoirs, pictorial archives of opera costumes, and period news. She investigates the development of imperial drama and its influence on the Peking Opera, as well as the function and system of imperial organizations responsible for drama. Also discussed are the complex roles of the actors on and off stage, and the broader issues of cultural and political influence intertwined with the performances themselves. The book thus presents us not only an art history of Peking Opera, but also a vivid scrollpainting of the socialcultural life both in and beyond the Forbidden City.
Thomas Irvine gathers these stories in Listening to China, exploring how the sonic encounter with China shaped perceptions of Europe’s own musical development.
set up a farewell banquet for him.18 When Baihua Zhang sijie was being performed in yiyangqiang, Mr. Xiong asked Wang, “What is the original story of this play?” This question was met with silence. Mr. Xiong spoke to other guests, ...
Morse, Chronicles, vol. 2, p. 117. . H. V. Bowen, The Business of Empire: The East India Company and Imperial Britaim, 1756–1833 (Cambridge: Cambridge University Press, 2006), pp. 234, 245. . Wakeman, “Drury's Occupation,” p.
2-3 (2010): 181–199; on television, see Megan Evans, “Chinese Xiqu Performance and Moving-Image Media,” Theatre Research ... For an annotated bibliography of key studies on traditional Chinese drama, see Colin Mackerras and Zhen Hai, ...
Argues that Qing China was not just a continental empire, but a maritime power protecting its interests at sea.
Douglas Kerr and Julia Kuehn (Hong Kong: Hong Kong University Press, 2007), 27–38. 48. G. [George] Tradescant Lay, The Chinese as They Are: Their Moral, Social, and Literary Character (London: W. Ball, 1841), 100. 49.
One day after arriving at Canton, Robert Morrison met several Chinese “little merchants,” one of whom spoke English well “for a Chinese” and had learned to swear “very well” thanks to frequent practice. In between bouts of headache and ...
... Ascendant Peace in the Four Seas : Drama and the Qing Imperial Court . Hong Kong : The Chinese University Press . Yee , Cordell D. K. , trans . 1985. “ Hung - hsien , by Yüan Chiao . ” In Classical Chinese Tales of the Supernatural and ...
... 4 (2000): 44– 48. Wu Hung. “Beyond Stereotypes: The Twelve Beauties in Qing Court Art and the Dream of the Red Chamber ... Ascendant Peace in the Four Seas: Drama and the Qing Imperial Court. Hong Kong: Chinese University Press, 2012 ...
The Misery of the Fall of Poland (Bolan wangguocan).124 The play was performed frequently in the 1910s, and, after the end of the Qing regime, the opera was still performed at the New Stage by the Xia brothers and Liu Yizhou.125 After ...