A detailed account of the cultural history of the performers and audiences who were involved in the performing cultures of the Chinese diaspora in Southeast Asia.
A detailed account of the cultural history of the performers and audiences who were involved in the performing cultures of the Chinese diaspora in Southeast Asia.
Beiyu Zhang obtained her PhD from the History department at the National University of Singapore. She worked as Post-doctoral Fellow, funded by the Macau Talent Program at the University of Macau, from 2018 to 2020. Now she is affiliated with the Jinan University, Guangzhou. Her research interests include cultural history, Chinese diaspora, theatre and performances, and Cold War culture.
Inhaltsangabe
Introduction Part I Chinese theatre troupes on the Sino-Southeast Asian Corridor, 1900s-1930s 1 Formation of Chinese theatrical spaces: temples, theatres and amusement parks in the Straits Settlements 2 Travelling with Teochew immigrants: Chaozhou theatre troupes on the move 3 Performative encounters: China's Song and Dance Troupe and the Nanyang tour 4 Saving the motherland: diasporic Nationalism and Mobilisation of Chinese in Malaya during WWII Part II 'Dangerous' reaching out via performative linkages in the Cold War 5 Old ties and new routes: socialist Chaozhou theatre in Hong Kong, 1950s-1960s 6 Chaozhou opera film nexuses: Hong Kong, Singapore and Bangkok, 1960s 7 Appropriating postcolonial Chineseness: Hong Kong leftwing troupes in Cold War Singapore and Malaya(sia) 8 Conclusion and epilogue
Introduction Part I Chinese theatre troupes on the Sino-Southeast Asian Corridor, 1900s-1930s 1 Formation of Chinese theatrical spaces: temples, theatres and amusement parks in the Straits Settlements 2 Travelling with Teochew immigrants: Chaozhou theatre troupes on the move 3 Performative encounters: China's Song and Dance Troupe and the Nanyang tour 4 Saving the motherland: diasporic Nationalism and Mobilisation of Chinese in Malaya during WWII Part II 'Dangerous' reaching out via performative linkages in the Cold War 5 Old ties and new routes: socialist Chaozhou theatre in Hong Kong, 1950s-1960s 6 Chaozhou opera film nexuses: Hong Kong, Singapore and Bangkok, 1960s 7 Appropriating postcolonial Chineseness: Hong Kong leftwing troupes in Cold War Singapore and Malaya(sia) 8 Conclusion and epilogue
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