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Extra info for Alternative Chinese Opera in the Age of Globalization: Performing Zero (Studies in International Performance)

Sample text

The costume of Mazu followed the design of her temple statue, with gaudy red and gold as major hues. The staging also featured special effects, such as the use of a fog machine and colored lighting to emphasize the supernatural effect. All these design decisions corresponded to notions of the tu and the popular. They made for familiar imagery, deeply rooted in people’s beliefs and close to the aesthetics of 38 Alternative Chinese Opera the local Taiwan drama, gezaixi, which is often seen performed outdoors as part of temple celebrations.

The general climate of decline in traditional art, local policies, and political tensions between the center and peripheries have combined to make mounting these performances a tremendous effort that requires multivalent collaboration, intricate negotiation, and substantial capital and manpower. All of the money-losing performances discussed here have nevertheless succeeded in some other respects: they have found new ways of artistic expression and claim to offer a model to the center’s “original sauce, original flavor” paradigm; they have also explored the possibilities of transnational collaboration in the production, consumption, and promotion of the art.

Despite the atrocities of the Cultural Revolution, artistic talent from the mainland provided Taiwan with rich resources during this transitional period, both in the form of preserved traditions and in precedents for novel experimentation. Yang Xiaoqing and Lu Ang, who directed Mazu and Zheng Chenggong respectively, are mainland directors with experience in modernized traditional opera in the mode of Western musicals, with large casts and grand spectacles. However, Li Hsiao-Ping and Zhu Jinrong, both Taiwan-trained opera actors, worked as assistant directors for these two productions.

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