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| 2012/12/31 07:37:41瀏覽250｜回應0｜推薦0 | |
| In feudal China, theatrical companies usually dedicated to royals or weathy families; so in Qing Dynasty, Pearl Garden(梨園) of Peking Opera played in Forbidden City only, not outside for commons. Not until 20th century, when the Dynasty was overthrown, was the opera able to entertain ordinary people with its highly symbolic actings and its specific aria in narrow and crowded stages. Among other players, Mei was one of the most significant actors(or actress) who made Peking Opera the first pop of modern China. Fans scrambled to watch Mei performing, just like groupies nowadys; and I was told, my grandfather, then a college student in Peking, had been one of them.
Being reputed as one of the four most handsome men in Republic era,(The other three was Wang Jing-wei, Zhang Xue-liang and Zhou En-lai.) Mei always played opposite role of sex on the stages. Was he a transvestite? Not exactly. In trditional China, women were not allowed to enter any kind of professions except domestic work at home. The profession of acting was no exception. Therefore, male fans were enthralled by Mei as they regarded him as their imaginary dream lover, whereas female fans were enchanted as Mei was their real idol to worship. Unfortuately, modern China evolved so fast, and partly due to symbolic characterics and limited scripts, that Peking Opera had played only a transitional role as a popular amusement, and soon become a "classic" art. In terms of the film, Mei was a real man off stage: a loving father and husband, a man longing for true love, an faithful friend and a patriot. I don't know much about Mei's biography, nor about Peking Opera; however, theatrically speaking, the film is a great one, a tentative but highly laudable attempt devoted to digging out the hidden treasures beneath the immense Chinese culture. Pathetically, Taiwan movies are not willing and able to make any out of its shallow "Taiwanese culture". That hoopla, 海角--? Nay. On the 1st day of 2009 |
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| ( 不分類｜不分類 ) |
