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Staging Chinese Revolution: Theater, Film, and the Afterlives of Propaganda by Xiaomei Chen

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Reviewed by: Staging Chinese Revolution: Theater, Film, and the Afterlives of Propaganda by Xiaomei Chen Rosemary Roberts Staging Chinese Revolution: Theater, Film, and the Afterlives of Propaganda by Xiaomei Chen. New York: Columbia University Press, 2016, Pp. xiv + 363. $60.00 cloth, $59.99 e-book. Xiaomei Chen begins Staging Chinese Revolution with an acknowledgments section that reveals her distinctive positioning as author in relation to her subject matter. Very much in the manner of Ruru Li’s excellent study of Beijing opera performance in modern China, Xiaomei Chen’s book combines the intimate subjective understanding of the insider with the objective and critical eye of the outsider.1 Chen’s acknowledgments, along with personal recollections scattered through the book, locate a crucial part of her own life experience as part of the “big family” of the China Youth Art Theater in Beijing during the 1950s and 1960s, when it was performing many of the “red classic” (hongse jingdian 红色经典) plays under discussion in Chen’s book. This intimate personal knowledge of China’s theater world informs Chen’s central argument: political propaganda in Chinese theater and film has never been just a task imposed from the top down; rather, it has been a complex and fundamentally willing collaboration between Chinese Communist Party (CCP) elites and a performing arts community that was ideologically committed to communist ideals and a socialist society. Playwrights, directors, and performers were not and are not hapless victims of the regime. Instead, they are active participants in the creation of political propaganda that functions through changing political and social environments to support the Party-state. To substantiate her argument, Chen investigates the most extreme forms of communist theater and film propaganda of the post-1949 era: historical narratives of Party leaders and revolutionary music-and-dance epics. Representations of former Party leaders Chen Duxiu 陈独秀, Mao Zedong 毛泽东, and Deng Xiaoping 邓小平 each form the central focus of a single chapter, while a separate chapter discusses the [End Page 204] three major music-and-dance epics, The East Is Red (Dongfang hong 东方红, 1964), The Song of the Chinese Revolution (Zhongguo geming zhi ge 中国革命之歌, 1984), and The Road to Revival (Fuxing zhi lu 复兴之路, 2009). An epilogue briefly considers how the representation of the revolution’s “founding mothers” has dwindled to traditionally gendered “supporting roles” (p. 287). Chen’s introductory chapter begins by locating her research within contemporary propaganda studies and then previews the core chapters listed above. Its most valuable contribution, however, lies in the second half of the chapter, which delves into the contemporaneous beginnings of the CCP and modern Chinese theater during the 1920s to demonstrate that close ideological and often personal links have existed between the two since their inception. Through an analysis of the work of the three “founding fathers” of modern Chinese theater, Tian Han 田汉, Hong Shen 洪深, and Ouyang Yuqian 歐阳玉倩, Chen argues: Tian and his cohorts visualized and staged a socialist blueprint in the leftist literary and dramatic tradition of the Republican period that paved the way for the construction of a socialist canon through his early writings during the first decades of the twentieth century, the war years, and the early years before and after the founding days of the PRC. (p. 30) Further, Chen argues that these three founding fathers trained generations of theater artists in the realist tradition. Their students have, in turn, gone on to participate in the creation of modern and contemporary canons, continually producing theater, film, and TV productions on revolutionary histories and the CCP leadership. Examples of the links between the early generations of Party elites and the theater world are well known. Mao trusted Tian Han to recommend which of two thousand submissions should be chosen as the design for the new national flag, and Zhou Enlai 周恩来 supported the use of Tian’s lyrics for the new national anthem (p. 31). Zhou Enlai himself is also known to have performed in progressive plays as a university student during the May Fourth period, and he personally over-saw the production of The East Is Red in 1964. In an era when theater was the primary vehicle available for spreading the socialist message— a message to which both theater professionals...

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  • Asian Theatre Journal
  • Siyuan Liu + 1 more

Introduction: A Brief History of Modern Chinese Drama Modern Chinese theatre started at the turn of the twentieth century, in part in response to calls by reform-minded intellectuals unsatisfied with traditional theatre's inability to depict social reality and thus serve political and educational functions. Although missionary schools had staged spoken drama performances in cities such as Shanghai as early as the late 1800s, scholars agree that modern Chinese theatre began in 1907 when the Chinese student group the Spring Willow Society staged in Tokyo an adaptation of Uncle Tom's Cabin titled Black Slave's Cry to Heaven (Heinu yu tian lu). After the fall of the Qing dynasty during the 1911 revolution, new drama moved from Tokyo to Shanghai, where it flourished in a hybrid form known as wenmingxi (civilized drama), which relied heavily on scenarios and improvisation. As a result, few scripts from the era survived. In the late 1910s, the New Culture Movement, known for its attack on traditional culture and aspiration for Western science, democracy, and culture, inspired a new direction in modern Chinese theatre known as huaju (spoken drama). A special issue of the movement's leading magazine New Youth (Xin qingnian) was dedicated to Ibsen and another to dramatic reform. Hu Shi's one-act Greatest Event in Life (Zhongshen dashi, 1919), about the importance of love in marriage, marks the beginning of this huaju dramaturgy. Influenced by modern theatrical movements in Europe, the United States, and Japan, huaju playwrights who had returned from those regions produced plays in a wide variety of styles during the 1920s. Prominent playwrights returning from the United States include Hong Shen, whose Yama Chao (Zhao Yanwang, 1922) used expressionistic techniques; Xiong Foxi (The Artist [Yishujia, 1928] and The Drunkard [Zuile, 1928]); and Yu Shangyuan (Mutiny [Bingbian, 1925]). Returning from Japan in 1922 with a clear understanding of modern Western drama and its Japanese incarnation shingeki (new drama), Tian Han wrote such successful pieces as The Night a Tiger Was Captured (Huohu zhi yiye, 1921), Tragedy on the Lake (Hushang de beiju, 1928), and One Evening in Suzhou (Suzhou yehua, 1929). Ouyang Yuqian, the only original member of the Spring Willow Society still active in theatre, wrote the subversive P'an Jinlian (1928). The English-educated Ding Xilin wrote one-act satires such as Flushed with Wine (Jiuhou, 1925) and Oppression (Yapo, 1926). (1) This diversity of styles took a dramatic turn toward realism and political engagement in the 1930s, first because of Communist-led leftist dramatic movement and then during the Second Sino-Japanese War (1937-1945). The 1930s also marked huaju's maturity, as best evinced by such classics as Cao Yu's Thunderstorm (Leiyu, 1933) and Xia Yan's Under Shanghai Eaves (Shanghai wuyan xia, 1937). During the war, theatrical activities flourished in three regions: southwestern China, where most theatre artists retreated with the nationalist government; the concession areas of Shanghai; and the Communist-controlled region of Yan'an. One of the better-known styles that flourished in the southwest was the historical play (lishiju), which used allegorical historical figures as oblique criticism of the present situation. The representative playwright in this style was Guo Moruo, who wrote Twin Flowers (Nie Ying, 1920-1941), Qu Yuan (1942), and The Tiger Tally (Hufu, 1942). In the Communist region of Yan'an, Mao Zedong, in his 1942 Talks at the Yan'an Forum on Literature and Art (Zai Yan'an wenyi zuotanhui shang de jianghua), urged artists to produce works that directly serve the needs of workers, peasants, and soldiers. This resulted in experiments in new theatrical forms more accessible to the masses, including reformed jingju (Beijing opera) plays such as Driven to Revolt (Bishang Liangshan, 1942) and xin geju (new opera) such as The White-Haired Girl (Baimao nu, 1945), which is included in the list. …

  • Book Chapter
  • 10.4324/9780429434372-9
China’s Coming “Revolution” The dynamics of political change
  • May 23, 2019
  • David Goodman

A basic uncertainty in China's politics is the transition to the post- Deng era. Deng Xiaoping may hold no formal position of power in the structures of the Chinese Communist Party (CCP) or the state, but he has remained the undisputed "paramount leader" since the start of the reform era in December 1978. Events since mid- 1989 in both China and the former communist party states of Eastern Europe have foregrounded the prospects of more cataclysmic change, including both the end of CCP rule and political disintegration. The recognition of partial interests is perhaps the most interesting of reforms for a CCP which previously brooked no qualification to its monopoly of political power. The reform process in the USSR demonstrated parallels and lessons to be learnt, and the CCP leadership itself is extremely conscious of the impact developments there may have on the People's Republic of China.

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