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Chinese shadow puppetry is a form of theater whereby colorful silhouette figures perform traditional plays against a back-lit cloth screen, accompanied by music. From Kaifeng Prefecture. Chinese shadow puppetry is shown in the 1994 Zhang Yimou film To Live.
An early form of Chinese drama is the Canjun Opera (參軍戲, or Adjutant Play) which originated from the Later Zhao dynasty (319–351). [12] [13] [14] In its early form, it was a simple comic drama involving only two performers, where a corrupt officer, Canjun or the adjutant, was ridiculed by a jester named Grey Hawk (蒼鶻). [12]
After her return to the United States, Rollins created the full-length work There's Nothing to Tell (没有什么可说) and performed it at the In the Heart of the Beast Puppet and Mask Theatre in Minneapolis. It combines Chinese shadow play with North American style and presents the story of a Chinese grandmaster shadow puppeteer whose life ...
The Kaohsiung Museum of Shadow Puppet (traditional Chinese: 高雄市皮影戲館; simplified Chinese: 高雄市皮影戏馆; pinyin: Gāoxióng Shì Píyǐngxì Guǎn) is a museum in Gangshan District, Kaohsiung, Taiwan.
Bian Lian (traditional Chinese: 變臉; simplified Chinese: 变脸; pinyin: Biàn Liǎn; lit. 'Face-Changing') is an ancient Chinese dramatic art that is part of the more general Sichuan opera. Performers wear brightly colored costumes and move to quick, dramatic music.
Chinese Jade ornament with flower design, Jin dynasty (1115–1234 AD), Shanghai Museum.. The arts of China (simplified Chinese: 中国艺术; traditional Chinese: 中國藝術) have varied throughout its ancient history, divided into periods by the ruling dynasties of China and changing technology, but still containing a high degree of continuity.
François Dominique Séraphin (15 February 1747 – 5 December 1800) was a French entertainer who developed and popularised shadow plays in France. The art form would go on to be copied across Europe.
Wayang kulit (Javanese: ꦮꦪꦁꦏꦸꦭꦶꦠ꧀ (in the ngoko register)) [1] is a traditional form of shadow puppetry originally found in the cultures of Java and Bali in Indonesia. [2] In a wayang kulit performance, the puppet figures are rear-projected on a taut linen screen with a coconut oil (or electric) light.