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Kunqu
Kunqu (), also known as Kunju (), K'un-ch'ü, Kun opera or Kunqu Opera, is one of the oldest extant forms of Chinese opera. It evolved from a music style local to Kunshan, part of the Wu (region), Wu cultural area, and later came to dominate Chinese theater from the 16th to the 18th centuries. refined the musical style of kunqu, and it gained widespread popularity when Liang Chenyu used the style in his drama ''Huansha ji'' (''Washing Silken Gauze''). Well-known pieces of Kunqu opera included ''The Peony Pavilion'' from the Ming dynasty. The melody or tune of Kunqu is one of the Four Great Characteristic Melodies in Chinese opera. It is known for its elegant lyrics, graceful style and delicate performance. It is one of the operas grouped under Southern Opera, and it is known as the "ancestor of a hundred operas." Kunqu uses drum and board to provide rhythm to the tunes, with flute, sanxian and so on as the main accompanying instrument. The opera is sung in "Yunbai, Zhongzho ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Peony Pavilion
''The Peony Pavilion'' (), also named ''The Return of Soul at the Peony Pavilion'', is a romantic tragicomedy play written by dramatist Tang Xianzu in 1598. The plot was drawn from the short story ''Du Liniang Revives For Love'' and depicts a love story between Du Liniang and Liu Mengmei that overcomes all odds. Tang's play diverges from the short story in that it integrates elements of the Ming dynasty, despite being set in the Southern Song. The play was originally written for staging as Kunqu opera, one of the genres of traditional Chinese theatre arts. It was first performed in 1598 at the Pavilion of Prince Teng. Its author, Tang Xianzu, was one of the greatest dramatists and writers of the Ming dynasty, and ''The Peony Pavilion'' can be regarded as the most successful masterpiece of his life. It is also one of the dramas in Tang's famous collection ''Linchuan si meng'' (The Four Dreams in the Jade Tea Hall), along with ''Zichai Ji (''The Purple Hairpin), ''Nanke Ji'' (A Dream ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Peking Opera
Peking opera, or Beijing opera (), is the most dominant form of Chinese opera, which combines instrumental music, vocal performance, mime, martial arts, dance and acrobatics. It arose in Beijing in the mid-Qing dynasty (1644–1912) and became fully developed and recognized by the mid-19th century. The form was extremely popular in the Qing court and has come to be regarded as one of the cultural treasures of China. Major performance troupes are based in Beijing, Tianjin and Shanghai. The art form is also preserved in Taiwan, where it is also known as (). It has also spread to other regions such as the United States and Japan. Peking opera features four main role types, ''Sheng role, sheng'' (gentlemen), ''dan role, dan'' (women), ''jing role, jing'' (rough men), and ''chou role, chou'' (clowns). Performing troupes often have several of each variety, as well as numerous secondary and tertiary performers. With their elaborate and colorful costumes, performers are the only focal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chinese Opera
Traditional Chinese opera (), 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 years, reaching its mature form in the 13th century, during the Song dynasty (960–1279 AD). Early forms of Chinese theater are simple; however, over time, various art forms such as music, song and dance, martial arts, acrobatics, costume and make-up art, as well as literary art forms were incorporated to form traditional Chinese opera. Performers had to practice for many years to gain an understanding of the roles. Exaggerated features and colors made it easier for the audience to identify the roles portrayed by the performers. There are over a hundred regional branches of traditional Chinese opera today. In the 20th century, the Peking opera emerged in popularity and has come to be known as the "national theatre" of China ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chinese Theater
Theatre of China has a long and complex history. Traditional Chinese theatre, generally in the form of Chinese opera, is musical in nature. Chinese theatre can trace its origin back a few millennia to ancient China, but the Chinese opera started to develop in the 12th century. Western forms like the spoken drama, western-style opera, and ballet did not arrive in China until the 20th century. History Theatre in China dates back to as early as the Shang dynasty (16th century BC?– 1046 BC). Oracle bone records reference rain dances performed by shamans, while the ''Book of Documents'' mentions shamanistic dancing and singing. For the Zhou dynasty ( 1046 BC – 256 BC), evidence from the ''Chu Ci'' suggests that in the 4th or 3rd century BC State of Chu, shamans performed with music and costumes. Some scholars have identified poems from the ''Classic of Poetry'' as possible lyrics of songs accompanying court dances from the early or mid-Zhou dynasty. The Zhou royal court as well ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Palace Of Eternal Life
''The Palace of Eternal Life'' (), also translated as ''The Palace of Eternal Youth'', is a play written by Hong Sheng () in the Qing dynasty. He absorbed certain material from the long narrative poem '' The Song of Everlasting Sorrow'' written by Bai Juyi and the zaju ''Rain on the Paulownia Tree'' () written by Bai Renfu. ''The Palace of Eternal Life'' is acclaimed as one of China's "Four Great Classical Dramas", along with ''The Peony Pavilion'', ''The Peach Blossom Fan'' and ''Romance of the Western Chamber''. The performance is focused on the everlasting love story of Emperor Xuanzong of Tang and his favorite consort Yang Guifei. This story has been translated into English and published by the Foreign Languages Press. Author , one of the period's most famous playwrights and poets, was born in 1645 in a shack outside Hangzhou City in the Qing Dynasty. He graduated from the Imperial Academy in 1668 and then returned home the following year. At the age of 18, he began to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kunshan
Kunshan is a county-level city in southeastern Jiangsu Province, Jiangsu province with Shanghai bordering its eastern border and Suzhou on its western boundary. It is under the administration of the prefecture-level city of Suzhou. Name There is a strong possibility that the name Kunshan is derived from a hill, but which one is controversial. According to an impacted version, the hill is present-day Little Kunshan (''Xiaokunshan'') in Shanghai's Songjiang District. The character (''Kun'') was the old Chinese name for the Kunlun Mountains. From it developed the chengyu, Chinese idiom "a jade from Kunlun Mountains", meaning any "outstanding figure". This was applied to Lu Ji (Shiheng), Lu Ji and a hill in his hometown was designated as Kun to commemorate him. History Lou county () which administered Kunshan and the area around was established in Qin dynasty. It was named after Lou River (; present-day Liu River: ), while its seat was located in the north eastern of Kunsha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Peach Blossom Fan
''The Peach Blossom Fan'' () is a musical play and historical drama in 44 scenes that was completed in 1699 by the early Qing dynasty playwright Kong Shangren after more than 10 years of effort. The play depicts the drama that resulted in the 1644 collapse of the Ming dynasty.Acton, pxvii The play recounts the death of the Ming dynasty through the love story of its two main characters, young scholar Hou Fangyu ( 侯方域) and a famous geji named Li Xiangjun. The ''Indiana Companion to Traditional Chinese Literature'' has called it "China's greatest historical drama". An English translation published by the University of California Press was translated by Chen Shih-hsiang and Harold Acton, K.B.E. with Cyril Birch collaborating. Background In the early Qing dynasty, the rise and fall of the dynasty touched many poets and playwrights, especially intellectuals, which pushed them into thinking of the historical lessons taught by the downfall of the Ming. These writers, inc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Suzhou
Suzhou is a major prefecture-level city in southern Jiangsu province, China. As part of the Yangtze Delta megalopolis, it is a major economic center and focal point of trade and commerce. Founded in 514 BC, Suzhou rapidly grew in size by the Eastern Han dynasty, mostly due to emigration from Northern and southern China, northern China. From the 10th century onwards, it has been an important economic, cultural, and commercial center, as well as the largest non-capital city in the world, until it was overtaken by Shanghai. Since Chinese economic reform, economic reforms began in 1978, Suzhou attained GDP growth rates of about 14% in 35 years. In 2023, Suzhou had 5 million registered residents. Suzhou is listed as the 48th List of cities by scientific output, cities by scientific output according to the Nature Index 2022. The city is home to universities, including Soochow University (Suzhou), Soochow University, Suzhou University of Science and Technology, Xi'an Jiaotong–Liverp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Masterpieces Of The Oral And Intangible Heritage Of Humanity
The Proclamation of Masterpieces of the Oral and Intangible Heritage of Humanity was made by the Director-General of UNESCO starting in 2001 to raise awareness of intangible cultural heritage—such traditions, rituals, dance, and knowledge—and urge the protection of the communities that create them. Several manifestations of intangible heritage around the world were awarded the status of ''Masterpieces;'' further proclamations occurred biennially. The status exists to recognize the value of non-material culture, as well as to commit states to promote and safeguard the Masterpieces. In 2008, the 90 declared Masterpieces were incorporated into the new Representative List of the Intangible Cultural Heritage of Humanity as its first entries. Background UNESCO defines oral and intangible heritage as "the totality of tradition-based creations of a cultural community expressed by a group or individuals and recognized as reflecting the expectations of a community in so far as they refl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sanxian
The (, literally "three strings") is a three-stringed List of traditional Chinese musical instruments, traditional Chinese lute. It has a long fretless fingerboard, and the body is traditionally made from snake skin stretched over a rounded rectangular resonator. It is made in several sizes for different purposes and in the early 20th century a four-stringed version, the ''jiaxian sanxian'' (加弦三弦), was developed. The northern is generally larger, at about in length, while southern versions of the instrument are usually about in length. History It has been suggested that ''sanxian'', a form of spike lute, may have its origin in the Middle East, and older forms of spike lute were also found in ancient Egypt. Similar instruments may have been present in China as early as the Qin dynasty as ''qin pipa'' (''pipa'' was used as a generic term in ancient China for many other forms of plucked chordophones) or ''xiantao'' (弦鼗), which the Qinqin and Ruan (instrument), Ruan ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Yunbai
''Yunbai'' (), also known as Zhongzhou rhyme ( or ) and Huguang pronunciation (), is a form of stage dialect used in Beijing opera and Kunqu. It utilizes a local dialect typical of central China, with a sing-song and rhythmic quality. Impact on other traditions During the reign of Yongzheng of the Qing Dynasty, the nascent form of Cantonese opera was initially performed using this stage dialect, rather than the native Cantonese of the audience. The stage dialect was generally known as Mandarin () or "Stage Mandarin" () by locals outside the industry. The use of this stage dialect in Cantonese opera continued into the early Republican period, as a shift to Cantonese in Cantonese opera occurred. See also * Beijing opera Peking opera, or Beijing opera (), is the most dominant form of Chinese opera, which combines instrumental music, vocal performance, mime, martial arts, dance and acrobatics. It arose in Beijing in the mid-Qing dynasty (1644–1912) and became ... References ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Four Great Characteristic Melodies
''Shengqiang'' () is a concept in Chinese opera which helps to categorize its hundreds of regional genres by the music played during arias. Classifying by the music, as opposed to the regional dialect, also helps to understand a genre's evolutionary history. For example, Peking opera and Cantonese opera have little in common as far as language or place of origin, but they belong to the same ''shengqiang'' system. Today, the four major ''shengqiang'' (四大声腔 pinyin: Sìdà Shēngqiāng) are ''Bangziqiang'', ''Pihuangqiang'', ''Kunqiang'' and ''Gaoqiang (opera form), Gaoqiang'' (i.e. ''Yiyangqiang''). Not all Chinese opera genres fall into one of these four ''shengqiang'' systems, and many genres can be classified into more than one system. Other ''shengqiang'' in history include ''Yuyaoqiang'' and ''Haiyanqiang''. Bangzi qiang Bangziqiang (梆子腔) consists of Qinqiang (秦腔), Yu opera (豫剧), Jinju (opera), Jinju (晋剧), Hebei Bangzi (河北梆子), Sixianqiang in Dia ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
