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  • Staging Revolution: Artistry and Aesthetics in Model Beijing Opera during the Cultural Revolution by Xing Fan
  • Yawen Ludden (bio)
Xing Fan. Staging Revolution: Artistry and Aesthetics in Model Beijing Opera during the Cultural Revolution. Hong Kong: Hong Kong University Press, 2018. xiii, 288 pp. Hardcover $65.00, ISBN 978-988-8455-81-2.

The slogan "Eight works for eight hundred million people" is often used to describe the tight political control over the performing arts during the Chinese Cultural Revolution of 1966–1976. This catchphrase refers to the eight model operas, developed during the early 1960s, that were believed to embody Chairman Mao's dictum that art should serve politics. These model operas were indeed elaborate works of propaganda, but their artistic value was also quite high. No discussion of the Cultural Revolution is complete without consideration of model opera, yet until recently coverage of its evolution from traditional Beijing opera has been fragmentary. This lacuna in the literature of model opera has now been filled by Xing Fan's new book, Staging Revolution: Artistry and Aesthetics in Model Beijing Opera during the Cultural Revolution.

Fan divides the book into two parts. Part 1 traces the history of model opera from the Communist base at Yan'an in the 1930s to the end of the [End Page 18] Cultural Revolution in 1974. Fan uses the term "traditional Beijing opera" to refer to early attempts to infuse revolutionary content into traditional forms. The use of this term is perhaps infelicitous, in that it is more likely to bring to mind the classical style of Beijing opera during its nineteenth-century heyday. Indeed, the author includes little discussion at all of traditional Beijing opera in this sense. Rather, she starts with what would perhaps be better termed "revolutionary Beijing opera."

According to Fan, model opera began its path toward maturity during the first decades after Liberation. During the early years of the People's Republic, the Chinese Communist Party aimed to implement the "unity of politics and art" that Mao had called for in his famous Yan'an Talks in 1942. However, it struggled for a clear vision of what a revolutionary Beijing opera recast in the mold of socialist realism would look like. Fan then marks the birth of model opera as the 1964 Beijing Opera Festival, in which several works supervised by Mao's wife Jiang Qing were highly acclaimed as "models" of what a truly revolutionary Beijing opera should look like.

Part 2 is the heart of the book, in which Fan makes significant contributions to the literature. Here, she takes a closer look inside model opera, analyzing it from the five aspects of playwriting, acting, music, design, and directing. In each chapter, she compares traditional Beijing opera and model opera with regard to one of these aspects, discussing reasons why changes were needed and how they were implemented. Her discussion is informed by numerous interviews with people who were involved in the original model opera productions. Furthermore, she is careful to integrate diverse viewpoints in order to create a balanced perspective on the transformation process from traditional Beijing opera to model opera.

The challenge was to produce works of art that maintained the essence of Beijing opera while creating a vibrant theatrical experience with appeal to mid-twentieth-century Chinese audiences. To achieve this goal, the entire approach to opera creation was revamped. Traditionally, new Beijing operas were developed as masters fleshed out themes or plot ideas in rehearsal. As a general rule, no script was prepared in advance, and no single person played the role of director. This practice reflects Beijing opera's roots in folk opera, and it worked well as long as new works were based on traditional stories. In the new socialist order, however, opera needed to reflect the lives of workers, peasants, and soldiers, particularly showcasing their heroic efforts at helping to create a communist state. As vehicles of propaganda, the model operas had important messages to convey, and so every word had to be precisely crafted. For this reason, scripts were painstakingly crafted by playwrights, and the action on stage was meticulously honed by directors. Furthermore, performers who had been...

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Additional Information

ISSN
1527-9367
Print ISSN
1069-5834
Pages
pp. 18-21
Launched on MUSE
2019-03-06
Open Access
No
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