Abstract

In contemporary Singapore a transformation is taking place in the performance of Chinese opera (xiqu) as amateur performers with state support take over roles and repertoire formerly associated with professional companies. The rise of amateur groups can be seen as an outcome of the city-state's cultural policy and the emphasis on amateur rather than professional presentations is also linked to a long Confucian heritage that emphasizes the scholar-amateur and deemphasizes professionals in artistic performance.

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Additional Information

ISSN
1527-2109
Print ISSN
0742-5457
Pages
pp. 397-421
Launched on MUSE
2007-09-26
Open Access
No
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