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The 20th century was a dynamic period for the theatrical arts in China. The four volumes of A History of Chinese Theatre in the 20th Century display the developmental trajectories of Chinese theatre over those hundred years.
This volume examines the development of Chinese theatrical art from the Cultural Revolution to the end of the 20th century. The Cultural Revolution had a devastating influence on the theatrical profession, reducing the creation of performance art to serving the political authorities. Adopting a critical view, the author argues that the Reform and Opening-up of the late 1970s not only ended this period of political interference, but also brought about chaos and doubts to the theatrical circle, since neither tradition nor western concepts were a panacea for the problems faced by Chinese theatre. He posits that people should advocate patterns of drama that are rich and colourful in their expression while encouraging the coexistence and competition of different artistic concepts.
Scholars and students in the history of the arts, especially the history of Chinese theatre, will find this book to be an essential guide.
List of contents
PART I: The Consummate Features and Three Prominences in the Portrayal of Heroes. 1. Modern Drama and “Feudalism, Capitalism and Revisionism” . 2. Eight “Model Scripts”. 3. Post-“Model Plays” Era. PART II: Returning to “the Period Prior to “the Cultural Revolution (1949—1966)” and Embracing the New Millennium. 4. Returning to “the Period Prior to “the Cultural Revolution (1949—1966)” . 5. Theatrical Crisis and Rejuvenation . 6. Diversified Trends in 1990s. Conclusion: Looking Back and Looking Forward.
About the author
Fu Jin is Vice Chairman of the China Literature and Art Critics Association, Member of the Disciplinary Review Group of the Academic Degrees Committee of the State Council (Drama and Film & Television); Professor and Doctoral Supervisor at the School of Liberal Arts, Nanjing University; and Director of the Academic Committee of the National Academy of Chinese Theatrical Arts. He is mainly engaged in studies on Chinese drama.
Summary
This volume examines national policies developed for the culture industry and practice of Chinese theatre from 1949 to the period of the ”Great Leap Forward”. The author highlights the tension between the new nation’s principle of ”letting one hundred flowers bloom” and the theatrical industry as a tool for ideological propaganda.
