At the Crossroads

For quite some time now, many theatre-lovers in Taiwan-laymen as well as scholars and critics-have been witnessing with considerable anxiety the general decline of the theatre. Their focus of attention has been, quite naturally, Peking opera, which over the years has acquired what I feel is the dubious honor of being called the national (kuo-chiia). People are apprehensive about what seems its inevitable demise. Their pessimism stems primarily from the form's obvious lack of popular support nowadays, as opposed to, say, half a century ago in mainland China. It appears to have run its course, losing its momentum and appeal. Particularly among the younger generation, the apathy toward this theatre is so real that, to the die-hard Peking opera loyalists, it is frightening, humiliating, and embarrassing. Faced with the gloomy prospect of a whole theatrical tradition vanishing right before their eyes, one that they have long identified with and cherished as the most aesthetically gratifying and entertaining form of performance art,2 the more active supporters of Peking opera have voiced their great concern for its future, and have come up with ideas and programs to revive it. Such efforts are largely what keep Peking opera going today, but they fail to imbue it with new life, to make it once again a viable theatre. Social and cultural changes have so rapidly and drastically influenced the art and appreciation of theatrical performance that radical measures must be taken if the traditional theatre is to survive and thrive

Art · Opera · Visual arts · History · Hong Kong and Taiwan Politics

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