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Plate 1.

Scene from the model revolutionary drama Red Detachment of Women (Hongse niangzi jun), performed on 1 January 2007 at Peking University by the China Central Ballet Company, reputed to be the best ballet troupe in China. Note the orchestra at the back of the stage, with the conductor standing in front. (Photo: Colin Mackerras)


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Plate 2.

Performance on the stage of the Wuye Miao in Wutai Shan, Shanxi Province, by the Third Shanxi Provincial Shanxi Drama ( Jinju) Troupe on 7 October 2006. In the past it was quite common to erect permanent stages in temple precincts and many remain to this day. Note that the audience is sitting or standing in the open air, not in the darkened auditorium characteristic of modern theatres. Viewers sitting on chairs are the patrons who have paid to select the drama. (Photo: Colin Mackerras)


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Plate 3.

A participant of the ritual of pamagparaya (fl agellation) is wounded by a fellow called berdugo using a ritualistic instrument called panabad in Cutud, Pampangna in the Philippines during Holy Week. (Photo: Sir Anril Pineda Tiatco)


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Plate 4.

Ruben Enaje plays the Kristo in the Cutud Via Crucis o Pasion y Muerte (Way of the Cross or Passion, and Death) in the Philippines. (Photo: Sir Anril Pineda Tiatco)


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Plate 5.

The nailing on the cross in the Cutud Passion play in the Philippines. (Photo: Sir Anril Pineda Tiatco)


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Plate 6.

The Tamil Nadu Kattaikkuttu Kalai Valarchi Munnetra Cangam Company playing Pancalisabadam (Draupadi's Curse). M. Shanmugam and Melma P. Ponnucami as kattai veshams (left) and M. Masilamani as the kattiyakkaran (right). (Photo: Esmee Meertens)


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Plate 7.

Mariyamman Nataka Saba Company actors prepare for a performance of kattaikkuttu. (Photo: Esmee Meertens)

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Additional Information

ISSN
1527-2109
Print ISSN
0742-5457
Pages
pp. 1-4
Launched on MUSE
2008-03-04
Open Access
No
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