The socio-political significance of Chinese opera in the 1950s
Abstract
The article focuses on the survival of Chinese opera in the first decade of the People’s Republic of China, and how the policies and ideologies of the Chinese Communist Party in the field of the arts filled opera performances with revolutionary content and patriotic heroism. The example of the opera The Red Guard of Honghu shows how revolutionary themes permeated plot, libretto, musical forms, and influenced production and stage practice. The author concludes that in the 1950s, the creative principle behind the creation of Chinese opera genre was the attitude of subordinating art to politics.
About the Author
Yan Cheng
Vaganova Ballet Academy
Russian Federation
Russian Federation
Postgraduate student
2, Zodchego Rossy St., St. Petersburg, 191023
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Review
For citations:
Cheng Ya. The socio-political significance of Chinese opera in the 1950s. Bulletin of Vaganova Ballet Academy. 2024;(2):171-181. (In Russ.)
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