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The Reform of Peking Opera in Taiwan

Published online by Cambridge University Press:  17 February 2009

Irmgard Johnson
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Extract

Readers of this journal who, like myself, have been interested by Colin Mackerras’ article on “Chinese Opera after the Cultural Revolution (1970–72)” in The China Quarterly, No. 55, may like to have some comments on the fate of traditional Peking opera in Taiwan. There, too, there has been “reform” although not generally in such an obvious or dramatic form as on the mainland. At first sight indeed, one might think that ways in which opera is treated on the mainland and in Taiwan are completely different, with the one concentrating on opera as a weapon in the social and political struggle and the other on the development of opera as an artistic form. Nevertheless, in studying aesthetic and theatrical aspects of the changes taking place in Taiwan, which is my main academic interest in the subject, I have been struck by the fact that these can in no way be disentangled from social and political forces.

Type
Comment
Information
The China Quarterly , Volume 57 , March 1974 , pp. 140 - 145
Copyright
Copyright © The China Quarterly 1974

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References

1. In making the brief comparisons that follow, it will be necessary to summarize information gathered in Taipei, Taichung, and Tainan (and also Quemoy) from dozens of interviews, opera performances, and newspaper articles during visits to Taiwan. Interviewees included members of the Legislative Yuan, members of the Committee on Opera of the Department of Defence, as well as other government officials, leading actors, actresses, and musicians, opera masters, tele-vision directors, and active “amateurs.” Space limitations do not permit analysis of particular operas.

2. Armed Forces Cultural Activities Centre.

3. Instruments, music, and the composition of the orchestra remain almost the same as before, without western influence.

4. Many opera lovers who never dream – financially or socially – of entering Taipei's Military Theatre may have the alternative of attending small theatres where small motley troupes are playing. (These are not too uncommon in Taiwan and do not receive much official attention. Their clientele is ageing.) “Today's World,” a commercial recreation building in Taipei, offers “Taiwan Opera” and “Peiping Opera” (remarkably alike) which one may attend in a carnival atmosphere.

5. In addition, a new 73-member troupe organized in the spring of 1973 made a three-and-a-half month tour of the United States later that year. The authorization and heavy subsidization by the Nationalist regime are evident in the special recruitment of some of the finest performers in Taiwan, as well as in the use of far more elaborate and costly costumes and in the strict and meticulous attention to detail.

6. For example, formerly an entire troupe with all its accoutrements was sent to Kinmen in a veritable flying flotilla; today only one small plane is allowed.

7. CQ, No. 55, pp. 506–509.

8. Members of the Legislative Yuan and other prosperous citizens sometimes informally “adopt” one of these children to encourage the beloved art by sponsoring an individual career.

9. Occasionally a young player, if disappointed by indifferent audience reception, will choose a more propitious stock-role and completely retrain for it.

10. Some of the “stars” still employ their own private accompanists on the hu ch'in (two-stringed “violin”).

11. CQ, No. 55, p. 503. In Taiwan their only noticeable group activity is gymnastics of all sorts – conducted as a school-related activity.