In lieu of an abstract, here is a brief excerpt of the content:

The Twelfth Meeting of the Conference Sunday-Monday, March 23-24, 1980 The Sunday afternoon session took the form of a well-attended panel of the Association for Asian Studies at the Washington Hilton Hotel, with the following papers under the general topic liThe Resilience of Traditional Chinese Ora 1 and Performi ng Arts under the Peop1e IS Repub 1ic.°11 Rulan Chao Pian (Harvard): The flourishing of regional variety in opera and other oral arts in China today. Catherine Stevens (Toronto): Comic crosstalk (Xiangsheng): varying contents and styles of presentation. Richard F.S. Yang (Pittsburgh): Peking opera: a report on visits to the theater in 1979. (See P.103) Chun-kin Leung (Toronto): The Cantonese opera in Kwangchow in 1979.(See p.92) Cyril Birch (California at Berkeley): Comments on the papers and report on research facilitioes in China. The Monday sessions were held at the Marvin Center of the George Washington University, where, thanks to Professor Chung-wen Shih we had the use without charge of a room with audio- and audio-visual equipment, and the convenience of a cafeteria under the same roof. Professor Jonathan Chaves planned the program, and in the absence of Professor Shih on research leave in China, made all local arrangements. The papers on the Monday were: Irmgard Johnson (Florida): An interview with the son of Mei Lanfang . (See p.116 below). Mark Hall Amitin (Columbia): Formalism in the post Cultural Revolution spoken drama. George E. Hayden (Southern California): Li Li-weng, a playwright on performance. (See p.80 below). John McCoy (Cornell): Hong Kong folksongs. Michael Saso (Hawaii): Rites of Origin: a Taoist Festival (illustrated by a videotape). On the Sunday some thirty people dined together at the Great Wall Restaurant and then proceeded to the Marvin Center for an evening of music and film and slide showing. A most congenial visitor was Stephen Addiss of the University of Kansas, a specialist on Vietnamese folksongs who also plays several Vietnamese instruments. He played an elaborate piece on the tranh, an instrument very much like the Chinese ch'in ~ , but with steel strings producing very crisp sounds. Then he demonstrated the use of the bao, a most unusual instrument in which changes of pitch are produced by bending a longish stick. This was followed by a long dramatic, even tragic, aria by our specialist in Cantonese opera, Chun-kin Leung. It came from The Last Moment of Shanbo. (See p. °100) 7 The Twelfth Meeting of the Conference Sunday-Monday,March 23-24, 1980 The Sunday afternoon session took the form of a well-attended panel of the Association for Asian Studies at the Washington Hilton Hotel, with the following papers under the general topic "The Resilience of Traditional Chinese Oral and Performing Arts under the People's Republic." Rulan Chao Pian (Harvard): The flourishing of regional variety in opera and other oral arts in China today. Catherine Stevens (Toronto): Comiccrosstalk (Xiangsheng): varying contents and styles of presentation. Richard F.S. Yang (Pittsburgh): Peking opera: a report on visits to the theater in 1979. (See P•l 03) Chun-kin Leung (Toronto): The Cantonese opera in Kwangchow in 1979.(See p.92) Cyril Birch (California at Berkeley): Commentson the papers and report on research facilities in China. The Mondaysessions were held at the Marvin Center of the George Washington University, where, thanks to Professor Chung-wenShih we had the use without charge of a roomwith audio- and audio-visual equipment, and the convenience of a cafeteria under the same roof. Professor Jonathan Chaves planned the program, and in the absence of Professor Shih on research leave in China, made all local arrangements. The papers on the Mondaywere: Irmgard Johnson (Florida): An interview with the son of Mei Lanfang . (See p. 116 below). Mark Hall Amitin (Columbia): Formalism in the post Cultural Revolution spoken drama. George E. Hayden (Southern California): Li Li-weng, a playwright on performance. (See p.80 below). John McCoy(Cornell): HongKongfolksongs. Michael Saso (Hawaii): Rites of Origin: a Taoist Festival (illustrated by a videotape). On the Sunday some thirty people dined together at the Great Wall Restaurant and then proceeded to the Marvin Center for an evening of music and...

pdf