The Lessons of Peking Opera in Brazil: From Hermetism to Congregation
First staged In Brazil In 1956 by a theatre troupe from the newly established People’s Republic of China, Peking Opera (or Jingju) simultaneously posed obstacles and created pathways for congregation. While its theatricality, determined by a highly specific semiotic system, encountered difficulties...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2024 |
| País: | Brasil |
| Institución: | Universidade do Estado da Bahia (UNEB) |
| Repositorio: | Pontos de Interrogação (Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.revistas.uneb.br:article/22063 |
| Acceso en línea: | https://www.revistas.uneb.br/index.php/pontosdeint/article/view/v14n1p37 |
| Access Level: | acceso abierto |
| Palabra clave: | Teatro no Brasil. Ópera de Pequim. Recepção teatral. Anos 1950. Theatre in Brazil. Peking Opera. Theatre Reception. 1950s. |
| Sumario: | First staged In Brazil In 1956 by a theatre troupe from the newly established People’s Republic of China, Peking Opera (or Jingju) simultaneously posed obstacles and created pathways for congregation. While its theatricality, determined by a highly specific semiotic system, encountered difficulties In being understood through effectively critical bases, its historical capacity for International transit, on the other hand, ultimately sealed a cultural and diplomatic triumph. This article explores the background of Peking Opera’s exportation following the founding of the Republic of China In the early 20th century, and its strategic use by representatives of Mao Zedong’s regime for entry Into Brazil. It also analyzes the immediate disturbances encountered by the artists and the extraordinary reception they ultimately achieved. |
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