LEADER 04759nam 2200949Ia 450 001 9910778080103321 005 20230721021749.0 010 $a1-282-35903-7 010 $a9786612359033 010 $a0-520-93279-X 024 7 $a10.1525/9780520932791 035 $a(CKB)1000000000765498 035 $a(EBL)470845 035 $a(OCoLC)609849930 035 $a(SSID)ssj0000294300 035 $a(PQKBManifestationID)11222956 035 $a(PQKBTitleCode)TC0000294300 035 $a(PQKBWorkID)10311801 035 $a(PQKB)10511717 035 $a(StDuBDS)EDZ0000055981 035 $a(MiAaPQ)EBC470845 035 $a(OCoLC)777472729 035 $a(MdBmJHUP)muse30384 035 $a(DE-B1597)520124 035 $a(DE-B1597)9780520932791 035 $a(Au-PeEL)EBL470845 035 $a(CaPaEBR)ebr10595413 035 $a(CaONFJC)MIL235903 035 $a(EXLCZ)991000000000765498 100 $a20061030d2007 ub 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aDrama kings$b[electronic resource] $eplayers and publics in the re-creation of Peking opera, 1870-1937 /$fJoshua Goldstein 210 $aBerkeley $cUniversity of California Press$dc2007 215 $a1 online resource (385 p.) 300 $aDescription based upon print version of record. 311 $a0-520-24752-3 320 $aIncludes bibliographical references (p. 335-353) and index. 327 $tFrontmatter -- $tContents -- $tIllustrations -- $tAcknowledgments -- $tIntroduction -- $t1. Late Qing Institutions of Peking Opera -- $t2. From Teahouse to Playhouse -- $t3. The Experimental Stage, 1895-1920 -- $t4. May Fourth Realism and Qi Rushan's Theory of National Drama -- $t5. Landscape and Figure, Nation and Character -- $t6. The Limits of Reform -- $t7. The Gendering of National Culture, Or, The Only Good Woman is a Man -- $t8. Nationalization through Iconification -- $tEpilogue -- $tNotes -- $tBibliography -- $tIndex 330 $aIn this colorful and detailed history, Joshua Goldstein describes the formation of the Peking opera in late Qing and its subsequent rise and re-creation as the epitome of the Chinese national culture in Republican era China. Providing a fascinating look into the lives of some of the opera's key actors, he explores their methods for earning a living; their status in an ever-changing society; the methods by which theaters functioned; the nature and content of performances; audience make-up; and the larger relationship between Peking opera and Chinese nationalism. Propelled by a synergy of the commercial and the political patronage from the Qing court in Beijing to modern theaters in Shanghai and Tianjin, Peking opera rose to national prominence. The genre's star actors, particularly male cross-dressing performers led by the exquisite Mei Lanfang and the "Four Great Female Impersonators" became media celebrities, models of modern fashion and world travel. Ironically, as it became increasingly entrenched in modern commercial networks, Peking opera was increasingly framed in post-May fourth discourses as profoundly traditional. Drama Kings demonstrates that the process of reforming and marketing Peking opera as a national genre was integrally involved with process of colonial modernity, shifting gender roles, the rise of capitalist visual culture, and new technologies of public discipline that became increasingly prevalent in urban China in the Republican era. 606 $aTheater$zChina$zBeijing$xHistory 606 $aOperas, Chinese$zChina$zBeijing$xHistory 610 $acareer. 610 $acelebrities. 610 $achinese history. 610 $across dressing. 610 $across-dressers. 610 $acultural anthropology. 610 $adetailed history. 610 $adramatic. 610 $aemotional rollercoaster. 610 $afour great female impersonators. 610 $agender bending. 610 $agender roles. 610 $ahistorical reenactments. 610 $ahistory of china. 610 $ahistory. 610 $aintense emotion. 610 $aintense. 610 $alively. 610 $amelodrama. 610 $apeking opera. 610 $aperforming arts. 610 $apolitics. 610 $aqing dynasty. 610 $atheater and opera. 610 $atheater history. 610 $atheatrical. 615 0$aTheater$xHistory. 615 0$aOperas, Chinese$xHistory. 676 $a792.0951/156 700 $aGoldstein$b Joshua$f1965-$01561179 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910778080103321 996 $aDrama kings$93827693 997 $aUNINA