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Drama
Traditional drama, often called "Chinese opera," grew out of the zaju (variety plays) of the Yuan dynasty (1279-1368) and continues to exist in 368 different forms, the best known of which is Beijing Opera, which assumed its present form in the midnineteenth century and was extremely popular in the Qing dynasty (1644-1911) court. In Beijing Opera, traditional Chinese string and percussion instruments provide a strong rhythmic accompaniment to the acting. The acting is based on allusion: gestures, footwork, and other body movements express such actions as riding a horse, rowing a boat, or opening a door. Spoken dialogue is divided into recitative and Beijing colloquial speech, the former employed by serious characters and the latter by young females and clowns. Character roles are strictly defined. The traditional repertoire of Beijing Opera includes more than 1,000 works, mostly taken from historical novels about political and military struggles. In the early years of the People's Republic, the development of Beijing Opera was encouraged; many new operas on historical and modern themes were written, and earlier operas continued to be performed. As a popular art form, opera has usually been the first of the arts to reflect changes in Chinese policy. In the mid-1950s, for example, it was the first to benefit under the Hundred Flowers Campaign. Similarly, the attack in November 1965 on Beijing deputy mayor Wu Han and his historical play, "Hai Rui's Dismissal from Office," signaled the beginning of the Cultural Revolution. During the Cultural Revolution, most opera troupes were disbanded, performers and scriptwriters were persecuted, and all operas except the eight "model operas" approved by Jiang Qing and her associates were banned. After the fall of the Gang of Four in 1976, Beijing Opera enjoyed a revival and continued to be a very popular form of entertainment both in theaters and on television. In traditional Chinese theater, no plays were performed in the vernacular or without singing. But at the turn of the twentieth century, Chinese students returning from abroad began to experiment with Western plays. Following the May Fourth Movement of 1919, a number of Western plays were staged in China, and Chinese playwrights began to imitate this form. The most notable of the new-style playwrights was Cao Yu (b. 1910). His major works-- "Thunderstorm," "Sunrise," "Wilderness," and "Peking Man"--written between 1934 and 1940, have been widely read in China. In the 1930s, theatrical productions performed by traveling Red Army cultural troupes in Communist-controlled areas were consciously used to promote party goals and political philosophy. By the 1940s theater was well-established in the Communistcontrolled areas. In the early years of the People's Republic, Western-style theater was presented mainly in the form of "socialist realism." During the Cultural Revolution, however, Western-style plays were condemned as "dead drama" and "poisonous weeds" and were not performed. Following the Cultural Revolution, Western-style theater experienced a revival. Many new works appeared, and revised and banned plays from China and abroad were reinstated in the national repertoire. Many of the new plays strained at the limits of creative freedom and were alternately commended and condemned, depending on the political atmosphere. One of the most outspoken of the new breed of playwrights was Sha Yexin. His controversial play "The Imposter," which dealt harshly with the favoritism and perquisites accorded party members, was first produced in 1979. In early 1980 the play was roundly criticized by Secretary General Hu Yaobang--the first public intervention in the arts since the Cultural Revolution. In the campaign against bourgeois liberalism in 1981 and the antispiritual pollution campaign in 1983, Sha and his works were again criticized. Through it all Sha continued to write for the stage and to defend himself and his works in the press. In late 1985 Sha Yexin was accepted into the Chinese Communist Party and appointed head of the Shanghai People's Art Theater, where he continued to produce controversial plays. Music
Chinese music appears to date back to the dawn of Chinese civilization, and documents and artifacts provide evidence of a well-developed musical culture as early as the Zhou dynasty (1027- 221 B.C.). The Imperial Music Bureau, first established in the Qin dynasty (221-207 B.C.), was greatly expanded under the Han emperor Wu Di (140-87 B.C.) and charged with supervising court music and military music and determining what folk music would be officially recognized. In subsequent dynasties, the development of Chinese music was strongly influenced by foreign music, especially that of Central Asia. Chinese vocal music has traditionally been sung in a thin, nonresonant voice or in falsetto and is usually solo rather than choral. All traditional Chinese music is melodic rather than harmonic. Instrumental music is played on solo instruments or in small ensembles of plucked and bowed stringed instruments, flutes, and various cymbals, gongs, and drums. The scale has five notes. The New Culture Movement of the 1910s and 1920s evoked a great deal of lasting interest in Western music as a number of Chinese musicians who had studied abroad returned to perform Western classical music and to compose works of their own based on the Western musical notation system. Symphony orchestras were formed in most major cities and performed to a wide audience in the concert halls and on radio. Popular music--greatly influenced by Western music, especially that of the United States--also gained a wide audience in the 1940s. After the 1942 Yan'an Forum on Literature and Art, a large-scale campaign was launched in the Communistcontrolled areas to adapt folk music to create revolutionary songs to educate the largely illiterate rural population on party goals. After the establishment of the People's Republic, revolutionary songs continued to be performed, and much of the remainder of popular music consisted of popular songs from the Soviet Union with the lyrics translated into Chinese. Symphony orchestras flourished throughout the country, performing Western classical music and compositions by Chinese composers. Conservatories and other institutions of musical instruction were developed and expanded in the major cities. A number of orchestras from Eastern Europe performed in China, and Chinese musicians and musical groups participated in a wide variety of international festivals. During the height of the Cultural Revolution, musical composition and performance were greatly restricted. After the Cultural Revolution, musical institutions were reinstated and musical composition and performance revived. In 1980 the Chinese Musicians' Association was formally elected to the International Musicological Society. Chinese musical groups toured foreign countries, and foreign musical organizations performed in China. In the mid-1980s popular ballads and Western folk and classical music still drew the greatest audiences, but other kinds of music, including previously banned Western jazz and rock and roll, were being performed and were receiving increasing acceptance, especially among young people. Motion Pictures
Motion pictures were introduced to China in 1896, but the film industry was not started until 1917. During the 1920s film technicians from the United States trained Chinese technicians in Shanghai, an early filmmaking center, and American influence continued to be felt there for the next two decades. In the 1930s and 1940s, several socially and politically important films were produced. The film industry continued to develop after 1949. In the 17 years between the founding of the People's Republic and the Cultural Revolution, 603 feature films and 8,342 reels of documentaries and newsreels were produced. The first wide-screen film was produced in 1960. Animated films using a variety of folk arts, such as papercuts, shadow plays, puppetry, and traditional paintings, also were very popular for entertaining and educating children. During the Cultural Revolution, the film industry was severely restricted. Most previous films were banned, and only a few new ones were produced. In the years immediately following the Cultural Revolution, the film industry again flourished as a medium of popular entertainment. Domestically produced films played to large audiences, and tickets for foreign film festivals sold quickly. In the 1980s the film industry fell on hard times, faced with the dual problems of competition from other forms of entertainment and concern on the part of the authorities that many of the popular thriller and martial arts films were socially unacceptable. In January 1986 the film industry was transferred from the Ministry of Culture to the newly formed Ministry of Radio, Cinema, and Television to bring it under "stricter control and management" and to "strengthen supervision over production." Radio and Television
Radio and television expanded rapidly in the 1980s as important means of mass communication and popular entertainment. By 1985 radio reached 75 percent of the population through 167 radio stations, 215 million radios, and a vast wired loudspeaker system. Television, growing at an even more rapid rate, reached two-thirds of the population through more than 104 stations (up from 52 in 1984 and 44 in 1983); an estimated 85 percent of the urban population had access to television. As radio and television stations grew, the content of the programming changed drastically from the political lectures and statistical lists of the previous period. Typical radio listening included soap operas based on popular novels and a variety of Chinese and foreign music. Most television shows were entertainment, including feature films, sports, drama, music, dance, and children's programming. In 1985 a survey of a typical week of television programming made by the Shanghai publication Wuxiandian Yu Dianshi (Journal of Radio and Television) revealed that more than half of the programming could be termed entertainment; education made up 24 percent of the remainder of the programming and news 15 percent. A wide cross section of international news was presented each evening. Most news broadcasts were borrowed from foreign news organizations, and a Chinese summary was dubbed over. China Central Television also contracted with several foreign broadcasters for entertainment programs. Between 1982 and 1985, six United States television companies signed agreements to provide American programs to China. Folk and Variety Arts
Folk and variety arts have a long history in China. One of the oldest forms of folk art is puppetry. Puppeteers use various kinds of puppets, including marionettes, rod puppets, cloth puppets, and wire puppets in performances incorporating folk songs and dances and some dialogues. The subject matter is derived mainly from children's stories and fables. The shadow play is a form of puppetry that is performed by moving figures made of animal skins or cardboard held behind a screen lit by lamplight. The subject matter and singing style in shadow plays are closely related to local opera. Another popular folk art is the quyi, which consists of various kinds of storytelling and comic monologues and dialogues, often to the accompaniment of clappers, drums, or stringed instruments.Variety arts, including tightrope walking, acrobatics, animal acts, and sleight of hand date back at least as far as the Han dynasty (206 B.C.-A.D. 220) and were very popular in the imperial court. Later, many of these feats were incorporated into the traditional theater, and they continued to be performed by itinerant troupes. As these troupes traveled around the countryside, they developed and enriched their repertoire. Since 1949 these art forms have gained new respectability. Troupes have been established in the provinces, autonomous regions, and special municipalities, and theaters specifically dedicated to the variety arts have been built in major cities. Some troupes have become world famous, playing to packed houses at home and on foreign tours. Third Party Resources
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