Maoist Model Theatre

The Semiotics of Gender and Sexuality in the Chinese Cultural Revolution (1966-1976)

Bibliographic Data

ID19902004
AuthorsRosemary Roberts (corresponding author), Rosemary A Roberts
Year2010
Pages285
Publication date2010-01-01
Open AccessNo
TypeBOOK
VenueMaoist model theatre (SOURCE_BOOK)
PublisherBrill (PUBLISHER • NL)
DOI10.1163/ej.9789004177444.i-288
OpenAlexW1569688460
Open LibraryOL29610290M
ISBN9789004177444
LanguageEN
Citations received14

Here is a convincing reflection that changes our understanding of gender in Maoist culture, esp. for what critics from the 1990s onwards have termed its 'erasure' of gender and sexuality. In particular the strong heroines of the yangbanxi, or 'model works' which dominated the Cultural Revolution period, have been seen as genderless revolutionaries whose images were damaging to women. Drawing on contemporary theories ranging from literary and cultural studies to sociology, this book challenges that established view through detailed semiotic analysis of theatrical systems of the yangbanxi including costume, props, kinesics, and various audio and linguistic systems. Acknowledging the complex interplay of traditional, modern, Chinese and foreign gender ideologies as manifest in the 'model works', it fundamentally changes our insights into gender in Maoist culture

Aesthetics · Art · Human sexuality · Ideology · Kinesics · Linguistics · Political science · Politics · Semiotics · Sociology · Asian Culture and Media Studies · Chinese history and philosophy · Communication · Gender Studies · Japanese History and Culture · Philosophy · 20th century · china · Communism · Communism and sex · Gender identity in literature · Gender identity in the theater · History · Political aspects · Sex in the theater · Social conditions · Theater · Women · Women and communism · Women in the theater

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