Starting from impromptu variety shows hosted by Red Army officers for their soldiers in the late 1920s, this study follows the long effort by the CPC cultural leaders to create revolutionary songs and stage revolutionary dramas.
Sample Chapter(s)
contents (114 KB)
Components of the Book:
- Introduction
- Chapter One Revolutionary Dramas and Songs in the Jiangxi Soviet Areas
- 1.1 The CPC and the Early Revolutionary Drama
- 1.2 Perspectives on Revolutionary Literature and Art
- 1.3 The Red Army Academy Social Club
- 1.4 Drama Troupes in the Jiangxi Soviet
- 1.5 New Dramas and Songs in the Jiangxi Soviet
- Chapter Two Revolutionary Songs and Drama Troupes during the Long March
- 2.1 The Soldiers’ Drama Society
- 2.2 The Forward Drama Troupe
- 2.3 The Combat Drama Society
- 2.4 Revolutionary Songs in Sichuan-Shaanxi Region
- 2.5 Revolutionary Songs in Ethnic-Minority-Inhabited Areas
- Chapter Three Revolutionary Dramas and Songs during the War of Resistance Against Japanese Aggression
- 3.1 Revolutionary Drama Troupes in North China
- 3.2 Revolutionary Songs during This Period
- 3.3 The National Salvation Song Movement
- 3.4 March Songs for Soldiers during the War of Resistance
- Chapter Four Mass Songs and Left-Wing Musical Activities
- 4.1 Emergence of Mass Songs
- 4.2 The Mass Singing Movement for National Salvation
- 4.3 Music Productions in the KMT-Held Areas
- 4.4 Music Creations in the Liberated Areas
- 4.5 Nie Er and Xian Xinghai
- 4.6 Revolutionary Drama Development in Shanghai
- Chapter Five Revolutionary Dramas and Songs in the Yan’an Period and the War of Liberation
- 5.1 The Community of Revolutionary Artists
- 5.2 Drama Production at the Lu Xun Academy of Art
- 5.3 The Masses’ Drama Troupe
- 5.4 The Music Work Group
- 5.5 Plays and Performances in Yan’an 5.6 Yangye Dance for the Revolution
- 5.6 Yangye Dance for the Revolutionn
- 5.7 Revolutionary Drama in the War of Liberation
- 5.8 Revolutionary Music Creation during the War of Liberation
- Chapter Six Revolutionary Songs and Model Operas in the 1960s and 1970s
- 6.1 New Beijing Opera Troupes
- 6.2 Model Beijing Opera as a Component of Cultural Construction
- 6.3 Principles for Creating Model Beijing Opera
- 6.4 Defining Features of Song
- 6.5 Revolutionary Songs in the 1960s and 1970s
- 6.6 The Role of “New Songs of the Battlefield” in the 1960s and 1970s
- References
Readership:
Students, academics, teachers and other people attending or interested in Revolutionary Dramas and Songs.
Ting He
She is associate professor of musicology at Yancheng Teachers University. Her research interest focuses on music education, traditional Chinese music, and music culture. Her articles have appeared in Chinese Studies, Art and Design Review, and Open Journal of Philosophy, among other publications.