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Drama KingsPlayers and Publics in the Re-creation of Peking Opera, 1870-1937$
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Joshua Goldstein

Print publication date: 2007

Print ISBN-13: 9780520247529

Published to California Scholarship Online: March 2012

DOI: 10.1525/california/9780520247529.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 03 August 2021

The Experimental Stage, 1895–1920

The Experimental Stage, 1895–1920

Chapter:
(p.89) Chapter 3 The Experimental Stage, 1895–1920
Source:
Drama Kings
Author(s):

Joshua Goldstein

Publisher:
University of California Press
DOI:10.1525/california/9780520247529.003.0004

This chapter places the changes in the Peking opera theater in a broader historical context of late Qing and early Republican efforts to reform the Qing polity into a Republican nation-state. From the 1890s to the 1910s, a vibrant concatenation of reformist experiments converged in the Peking opera theater, both in the onstage productions of plays and in the audience, particularly with the integration of women into what had previously been the all-male space of the public theater. Theaters were at once spaces of social liberation and gender experimentation and sites over which various social fractions—male actors and the newly emerging female actresses, male and female fans, foreign-educated students, and wealthy patrons—competed for control, while drama as a medium of cultural communication came to be seen as crucial to shaping citizens' political attitudes and social behavior.

Keywords:   Peking opera theater, Qing polity, Republican nation-state, social liberation, cultural communication, drama

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