Earticle

초록

영어

Peking opera was introduced to Hong Kong audiences almost ninety years ago. Throughout the twentieth century Peking opera existed in Hong Kong in a diversity of activities. Although it gained little positive response from the local community, it was still able to develop in Hong Kong society with support of the mainland emigrants community. While the old Peking opera activities gradually faded out in contemporary Hong Kong, they were replaced by some new ones, which drew increasing public attention and appreciation. This paper aims to unfold the political influences on the shaping of Peking opera’s development in Hong Kong. Drawing upon historical sources, government documentations and fieldworks in local Peking opera troupes, I will discus how the adoptions of cultural policies by the external regimes of the Republic of China, originally in the mainland and on Taiwan after 1949, and the People’s Republic of China, as well as the internal power of the British colony and the Hong Kong Special Administrative Region governments brought Peking opera to Hong Kong and enabled the genre to develop.

목차

Abstract
 Introduction
  A Brief Development of Peking Opera in Hong Kong
  Writing Peking Opera in Ethnomusicology
  The Dual Forces of Cultural Policies in the Past Tour Performances as Diplomacy
  The First Encounter: Mei Lan-fang’s Tour in 1922
  Cultural Competition between the Two Chinese Regimes
  Cultural Policy of the Colonial Government before 1980
  The Continuing Political Influence in the Present
  Increasing Support in the HKSAR Period (1997- present)
 Conclusion
 References

저자

• Chan Pui Lun

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  Asian Musicology

• 간기

  연간

• pISSN

  1229-9413

• 수록기간

  2002~2024

• 십진분류

  KDC 670 DDC 780