Mu dan ting huan hun ji
From Chapter 1
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Through the lens of "corporeal politics"—the close attention to bodily acts in specific cultural contexts—each study in this book challenges existing dance and theater histories to re-investigate the performer's role in devising the politics and aesthetics of their performance, as well as the multidimensional impact of their lives and artistic works. Corporeal Politics addresses a wide range of performance styles and genres, including dances produced for the concert stage, as well as those presented in popular entertainments, private performance spaces, and street protests.
From Chapter 1
Fig. 1.1. Two dancers performing in front of a group of several men. From Tang Xianzu 湯顯祖 (1550–1616), Mu dan ting huan hun ji: Yu ming tang yuan ben 8 juan 牡丹亭還魂記: 玉茗堂原本 8卷 (Shanghai: Sao ye shan fang, [18??]), j. xia.51b. Courtesy Hathi Trust). Available at https://doi.org/10.3998/mpub.11521701.cmp.1.
From Chapter 1
Fig. 1.2. Nine cloud dream (gu’unmong), approx. 1800–1900, Detail. Korea; Joseon dynasty (1392–1910). Ink and colors on paper. Photo © Asian Art Museum of San Francisco. Acquisition made possible in part by the Korean Art and Culture Committee, 1997.21. This detail of a salon dancer accompanied by female musicians aptly illustrates the circulation of ideas and images throughout East Asia. The screen depicts scenes from the famous 17th century Korean novel Nine Cloud Dream, which is itself set in Tang dynasty China and centers on the conflict between Buddhist and Confucian values. Available at https://doi.org/10.3998/mpub.11521701.cmp.2.
Fig. 2.1. Mei Lanfang in the role of Yang Guifei in the new opera The Unofficial Biography of Taizhen [Yang Guifei]” [Taizhen waizhuan 太真外傳], created circa 1925. Mei’s flowing garments and bare arms are completely foreign to Peking opera. Source: Liang She-Ch’ien, ed., Mei Lanfang; Foremost Actor of China (Shanghai: Commercial Press, 1929), 6. Available at https://doi.org/10.3998/mpub.11521701.cmp.3.
From Chapter 2
Fig. 2.2. Mei Lanfang in Hegemon King Bids Farewell to His Concubine (Bawang bieji 霸王別姬), created circa 1922. Photo courtesy Kyushu University library. Available at https://doi.org/10.3998/mpub.11521701.cmp.4.
From Chapter 3
Fig. 3.1. Wu Xiaobang performing Si fan, 1942, Qujiang, Guangdong Province, China. Source: Yu Ping 余平 and Feng Shuangbai 冯双白, eds. 2006. Bai nian Wu Xiaobang 百年吴晓邦 (A hundred years of Wu Xiaobang), Beijing: Wenhua yishu chubanshe 文化艺术出版社, p. 19. Available at https://doi.org/10.3998/mpub.11521701.cmp.5.
From Chapter 3
Fig. 3.2. Wu Xiaobang performing Si fan, 1942, Qujiang, Guangdong Province, China. Source: Yu Ping 余平 and Feng Shuangbai 冯双白, eds. 2006. Bai nian Wu Xiaobang 百年吴晓邦 (A hundred years of Wu Xiaobang), Beijing: Wenhua yishu chubanshe 文化艺术出版社, p. 19. Available at https://doi.org/10.3998/mpub.11521701.cmp.6.
From Chapter 4
Fig. 4.1. Murayama Tomoyoshi dancing at Jiyū Gakuen in 1923. Source: Murayama Tomoyoshi: Get All of Me Seething exhibition catalogue, 2012. Photo no. III-134, p. 117. Available at https://doi.org/10.3998/mpub.11521701.cmp.7.
Fig. 4.2. Murayama Tomoyoshi and Okada Tatsuo dancing at Chieruteru no kai in 1924. Source: Murayama Tomoyoshi: Get All of Me Seething exhibition catalogue, 2012. Photo no. III-137, p. 119. Available at https://doi.org/10.3998/mpub.11521701.cmp.8.
From Chapter 5
Fig. 5.1. Masami Kuni (Park Yeong-in) in Mikonshano Odori, n.d. Photographer unknown. Courtesy Deutsches Tanzarchiv Köln. Available at https://doi.org/10.3998/mpub.11521701.cmp.9.
From Chapter 5
Fig. 5.2. Masami Kuni (Park Yeong-in) in Nembutsu, n.d. Photographer unknown. Courtesy Deutsches Tanzarchiv Köln. Available at https://doi.org/10.3998/mpub.11521701.cmp.10.
From Chapter 6
Fig. 6.1. Dai Ailian in Hong Kong performing a dance pose from her solo dance Guerilla March. South China Morning Post, October 16, 1940. Photographer unknown. Used with permission of South China Morning Post. Available at https://doi.org/10.3998/mpub.mpub.11521701.cmp.11.
From Chapter 6
Page 124 →Fig 6.2. Dai Ailian performing her Tibetan dance Ba’an xianzi, which she premiered in Chongqing in 1946. Yiwen huabao 艺文画报2, no. 5, 1947, p. 6. Reproduction provided by the Chinese Periodical Full-text Database (1911–1949), Quan Guo Bao Kan Suo Yin (CNBKSY), Shanghai Library. Available at https://doi.org/10.3998/mpub.11521701.cmp.12.
From Chapter 7
Fig. 7.1. Nayoung (played by Soyee Kwon) comes out from under the bed sheet, held by Heejung umma (played by Jihye Kim, left) and the landlady (played by Yiju Jang, right) in BBALLAE, 22nd Production, 2019, Seoul. Photo courtesy CH SOOBAK. Available at https://doi.org/10.3998/mpub.11521701.cmp.13.
From Chapter 7
Fig 7.2. Solongos (played by Kiheon Kang) and Nayoung (played by Soyee Kwon) sing Apeugo Nunmulnaneun Saram [A Human with Pains and Tears] in BBALLAE, 22nd Production, 2019, Seoul. Courtesy of CH SOOBAK. Available at https://doi.org/10.3998/mpub.11521701.cmp.14.
From Chapter 8
Fig, 8.1. Miyako Odori in 2019. Its group dance in identical costumes has basically followed the same style since its first performance in 1872. Photo by Hayashi Photo provided by Gion Kobu Kabukai. Available at https://doi.org/10.3998/mpub.11521701.cmp.15.
From Chapter 8
Fig, 8.2. Child dancers in the costume modeled after the uniform of the Kokubō fujin-kai, Japan’s National Defense Women’s Association. Nisshi-shinkō 日支親交” or “Friendship between Japan and China” from 1939 Miyako Odori. Courtesy Gion Kobu Kabukai and Kyomai Inoue-ryu. Available at https://doi.org/10.3998/mpub.11521701.cmp.16.
From Chapter 9
Fig, 9.1. Michio Itō, October 1938, California. Photo by Johan Hagemeyer, from the Johan Hagemeyer photograph collection, BANC PIC 1964.063 Ito, Michio :005—PIC, © The Regents of the University of California, The Bancroft Library, University of California, Berkeley. Available at https://doi.org/10.3998/mpub.11521701.cmp.17.
From Chapter 9
Fig. 9.2. Prince Igor at Hollywood Bowl. Los Angeles Evening Herald, August 14, 1930. Artist and photographer unknown. Courtesy Los Angeles Philharmonic Archive. Available at https://doi.org/10.3998/mpub.11521701.cmp.18.
From Chapter 10
Fig. 10.1. Still from a 2006 performance of “Recollection” from Jiao (1995) at the National Theatre in Taipei. The dancers are Lee Shen-tzu 李聲慈 and Lee Ming-wei李銘偉. Photo courtesy Legend Lin Dance Theatre. Available at https://doi.org/10.3998/mpub.11521701.cmp.19.
From Chapter 10
Fig. 10.2. Still from a 2006 performance of “Possession” from Jiao (1995) at the National Theatre in Taipei. The dancers are Chen Chi-shun 陳啟順, Lee Ming-wei 李銘偉, Cheng Chieh-wen 鄭傑文, Tsai Che-Jen 蔡哲仁. Photo by Chin Cheng-tsai 金成財 courtesy Legend Lin Dance Theatre. Available at https://doi.org/10.3998/mpub.11521701.cmp.20.