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Post-Tian'anmen: A new era in Chinese theatre. Experimentation during the 1990s at Beijing's China National Experimental Theatre/CNET.

机译:后天安门:中国戏剧的新时代。 1990年代在北京的中国国家实验剧院/ CNET进行实验。

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摘要

The 1990s was a period of rapid transformation in China. Leaders Jiang Zemin and Zhu Rongji accelerated policies initiated by Deng Xiaoping, as China embraced "Socialism with Chinese Characteristics." Far-reaching socio-economic and cultural change cut across every facet of Chinese society and had a tremendous impact on huaju ("spoken drama") and the State Theatre System. This study examines how and to what extent the conditions and challenges of the 1990s fostered a climate for experimentation and impacted the aesthetics of huaju.; The research first establishes a context for huaju---its evolution and ideological background over the last century proceeding to a more detailed view of the 1990s. This decade witnessed significant new phenomena: a rising entrepreneurial class, a vibrant alternate "gray" culture, the proliferation of "little theatres," "free-lance" theatre artists, and the "independent theatre studios" of directors Lin Zhaohua, Meng Jinghui, and Mou Sen. Focusing on Beijing's prestigious China National Experimental Theatre (CNET), the research provides a detailed analysis of the inner workings of the State Theatre System---the transition from "iron rice bowl" to "contract system," new management, producing, and financing practices, and the endeavor to build an audience for huaju amid dwindling State subsidies.; The study characterizes the range of styles and genres at CNET during the 1990s: "main melody," "personal realism," "nationalization," "foreign," and "experimental/avant-garde" plays. Representative productions, embodying a variety of Western and indigenous Chinese performance styles, aesthetics, and techniques, are examined. The research highlights the experimental work of leading avant-garde directors, Lin Zhaohua and Meng Jinghui, and presents an in-depth analysis of four CNET productions: Lin's Go Man, Meng's The Nun and the Monk and Gossip Street, and Tian Qinxin's Fields of Life and Death . Following the production process---from conception; through rehearsal; to performance; and official, critical, and popular reception---the study explores directorial methods, acting techniques, director/actor/designer interactions, and current theatre practices as they impact dynamics of mise-en-scene. During the 1990s, the parameters of both form and content in huaju grew more complex, as experimental techniques, once the exclusive domain of the avant-garde, were increasingly appropriated by the mainstream.
机译:1990年代是中国快速转型的时期。江泽民和朱R基领导人加快了邓小平提出的政策,因为中国接受了“中国特色社会主义”。深刻的社会经济和文化变化影响了中国社会的方方面面,并对“话剧”和国家剧院系统产生了巨大影响。这项研究探讨了1990年代的条件和挑战如何以及在多大程度上促进了实验的气氛并影响了花菊的美学。该研究首先为“花菊”建立了一个背景-它在上个世纪的演变和意识形态背景,然后进一步研究了1990年代。这十年见证了重大的新现象:企业家阶层的崛起,充满活力的替代“灰色”文化,“小剧院”,“自由职业”戏剧艺术家的泛滥以及林兆华,孟景辉导演的“独立戏剧工作室”以及MouSen。研究针对北京著名的中国国家实验剧院(CNET),该研究提供了对国家剧院系统内部运作的详细分析-从“铁饭碗”向“合同制”的过渡,新管理,生产和筹资活动,以及在国家补贴不断减少的情况下努力为花州建立观众的活动;这项研究描绘了1990年代CNET的风格和流派范围:“主要旋律”,“个人现实主义”,“国有化”,“外国”和“实验/前卫”戏剧。考察了代表作品,这些作品体现了各种西方和中国本土的表演风格,美学和技术。这项研究着重介绍了前卫导演林兆华和孟景辉的实验工作,并对四个CNET产品进行了深入的分析:林'的《 Go Man》,孟M的《 The Nun and the Monk and Gossip Street》和田勤新的《 Fields of生与死 。遵循生产过程-从构思开始;通过排练;性能;以及官方,批判性和受欢迎的招待会-该研究探讨了导演方法,演技,导演/演员/设计师的互动以及当前的剧院实践,因为它们影响了现场演出。在1990年代,随着实验技术(曾经是先锋派的专有领域)逐渐被主流所采用,“花菊”中形式和内容的参数变得越来越复杂。

著录项

  • 作者

    Entell, Bettina S.;

  • 作者单位

    University of Hawai'i at Manoa.;

  • 授予单位 University of Hawai'i at Manoa.;
  • 学科 Literature Asian.; History Asia Australia and Oceania.; Theater.
  • 学位 Ph.D.
  • 年度 2002
  • 页码 479 p.
  • 总页数 479
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 世界史;公共建筑;
  • 关键词

  • 入库时间 2022-08-17 11:46:02

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