‘Theatre reform’ and ‘reform practitioners’: from the perspective of repertoire, concept of acting and acting methods
- Submitting institution
-
The University of Leeds
- Unit of assessment
- 26 - Modern Languages and Linguistics
- Output identifier
- UOA26-121
- Type
- D - Journal article
- DOI
-
-
- Title of journal
- Journal of National Academy of Chinese Theatre Arts
- Article number
- -
- First page
- 1
- Volume
- 37
- Issue
- 2
- ISSN
- 2412-2203
- Open access status
- Access exception
- Month of publication
- May
- Year of publication
- 2016
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- 25 - Area Studies
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- -
- Author contribution statement
- -
- Non-English
- Yes
- English abstract
- Using newly-discovered primary sources, this article examines Theatre Reform in the early PRC, a controversial topic that gains increasing interest in China and abroad. Through Bourdieu’s theoretical framework of habitus, field, and different forms of capital, the article argues that ‘Reforming the Theatre, the Professionals and the Institutional System’ was a political campaign successfully launched by the government. Yet, the dynamics of the resistance, fight, and transformation between individual practitioners’ habitus and their capitals (including the training received through their childhood) and the social and cultural fields has produced the unique ecology of the Chinese song-dance theatre today.
