Opera_and_the_Chinese_Cultural_Revolution

The modern Chinese Opera, as it was to be known throughout the Cultural Revolution was primarily predicated on creating a revolutionary change in how roles of opera were perceived. The Document in question is the first chapter of the Paul Clark, “The Chinese Cultural Revolution: A History.” This document is intended primarily for a modern academic audience. The book in of itself tries to do for the Chinese Cultural Revolution like what Howard Zinn did for early American History in his book, “A Peoples History of the United States.” The author does not have any position in particular outside of general academia. So there is nothing that necessarily ties him directly to the movement. But what he does is attempt to give a complete history of the various art and peoples movements within the Cultural Revolution and their respective impact. As previously mentioned, the document primarily focuses on what becomes the nationalization of the Opera, and how Opera was shaped into something more “modern” then the usual traditional operas preceding it. Most of the themes in old Chinese operas are commonly described by Chinese Communists denounced the, “’feudal’ thinking that purveyed [it].” After Opera and Theater troupes were nationalized into a more cohesive sort of body, the change in Opera and its fundamental structure began. Initially there was a push for making it much more like film. There was a National Opera Committee that was established which attempted to do as much. In these sorts of Operas there was a focus on, “Workers, peasants, and soldiers (gong-nong-bing) were [made] the central characters in the new art and literature.” The problem with this however was that the roles that had existed previously, there was no corollary to in the new China. However, by 1959 the new revised older plays were made to the public and, “aroused hearty audience enthusiasm and specialists’ endorsements.” This was the underlying theme by which most of the Opera was built around and it enjoyed a large amount of success as a result. The Peking Opera even held many more major plays as a result of these actions. Throughout the Cultural Revolution, these elements, especially the Workers, peasants, and Soldiers, were emphasized more frequently and the Army through leaders such as Lin Bao had more direct influence with the narratives these plays took. There were further replacements such as heros being made revolutionary leaders with a God like role and there was a new form created called the 5 model opera, which was a settled ideal by which Opera would be continued. What the document definitely indicates is the role of the people within the creation of these newer narratives for older operas, as well as new more modernist operas. It becomes apparent that the fundamental archetypes that were used during this time period had not necessarily changed, but the people playing them had. Throughout the narratives of these operas it becomes clear that instead of divinely inspired events taking place, they were the events of revolution and pride in the mind of the Chinese People. Through this state run opera, there was a huge flourish of culture in general and the ideas and narratives expressed. The Opera became more modern and with it pride came back to the Chinese People. The People’s involvement is not something that can be ignored or forgotten during this time period.