The Model Operas from Miao Wenjun ( Miao Wenjun is a chinese artist whom I met during the assembly of desire workshop in China academy of art, Hangzhou as part of Shanghai biennale curated by Raqs media collective)
First, the origin
“In China, revolutionary opera refers to the model operas planned and engineered during the Cultural Revolution by Jiang Qing, the wife of Chairman Mao Zedong.[1] They were considered revolutionary and modern in terms of thematic and musical features when compared with traditional operas. Many of them were adapted to film.” — — from WIKI
During the Cultural Revolution, there were some large and medium-sized stage art works that were set as examples of literary works and dominated by dramatic works. They were collectively referred to as “revolutionary model opera” or “revolutionary model work”, commonly known as “model opera.” The model drama is the common name for more than two dozen dramatic works based on the drama which was established as a “revolutionary model drama” during the Cultural Revolution. Their brewing, creation molding earlier, the final revision of the stereotypes and set at a respect is published in Jiang Qing “talk about Peking opera reform” after 1964–1966. Jiang Qing has organized, participated in and handled some of the post-processing tasks such as adaptation and rehearsal of these works. May 23, 1967 In commemoration of the 25th anniversary of Mao Zedong’s “speech at the Yan’an Literary Symposium,” the model opera was staged at theaters in Beijing. Mao Zedong repeatedly led members of the Politburo to attend the show, thus giving him strong political support. Jiang Qing into the Central Cultural Revolution group and thus active in the central stage of the political arena, are related to this.
The title “revolutionary model drama” was called and began in May-June 1967. At that time, Jiang Qing’s stage art work fostered a gathering in Beijing and was staged repeatedly at the six theaters. At the same time, “People’s Daily” and other “two newspapers and one issue,” there are many reports and comments, calling it a “revolutionary model drama”, or tentatively called “eight revolutionary model
drama” and lists the following list: “Peking Opera” The Legend of the Red Lantern”” Taking Tiger Mountain by Strategy “” Shajiabang “” On the Dock “” Raid on the White Tiger Regiment”, ballet” Red Detachment of Women “” The White-Haired Girl “symphony music” Shajiabang “.
Afterwards, the opera “Song of the Dragon River”, “Plain Battle”, “Rocky Bay”, “Red Detachment of Women”, “Rhododendron Hill”, Ballet “Song of the Yimeng Mountain” and “The Brother and Sister on the Prairie” and “ The Legend of the Red Lantern “, etc., have also been among the model opera.
In 1978, the model opera came to an end with the Cultural Revolution ended.
Second, political
1, Model operas were the continuation of the New Literature Movement since the May Fourth Movement.
2, Model operas were the need for revolutionary struggle and the consolidation of power at the time.
3. Since the speech at the Yan’an Literary Symposium was published, the Communist Party has been trying to create its own literature and used literature as a tool for revolution and construction. Therefore, all kinds of models have emerged as the model opera of the modern and contemporary Beijing Opera. Jiang Qingli was later used as a tool for gang literature.
Third, hybrid melts
Model operas due to a particular era. The specific cultural context determines its theme and style.
The creators found some experience in representing the Chinese modern life in the traditional Chinese and foreign art forms.Drawing on the stage art form of the drama, they use the realistic scenery, props and costumes of western painting to change the tentative features of the traditional Peking opera.A complete set of singing, proper handling of sound and love, genres and characters, charm and image of the relationship between the three aspects.To symphony Orchestra as Peking Opera accompaniment, fine art of excellence, there are merits.
But there are also hashish problems that violate the inherent characteristics of art style.Realistic scenery weakened the imagination, performing too much emphasis on experiencing people and close to life.Symphonic accompaniment makes the program of singing into a “Beijing song.”Replaced drums with command to integrate civil and military field, missing conceptualization.
Fourth, related works
William Kentridge’s “Model notes”
Rewriting “Eight Model Operas” William Kentridge The trip to China is based on a visit to his studio in Johannesburg by Philip Tinari(田霏宇) in October 2012. Since then, they two have kept in communication, and at the same time, began his independent study of modern Chinese history and literature. “I read some of Lu Xun’s books, reminding me of the Japanese writer Akutagawa Ryunosuke and Gogol and Kafka of the modern European grotesque. I also read some books about revolutionary posters, all of these styles, tone, instructions, slogans, and that noise and great enthusiasm have fascinated me. “Said William Kentridge.
Especially appealing is Philip Tinari (田霏宇) sent a set of “eight model drama” DVD set. “Model opera is the theme of revolutionary themes, blending exuberant songs, speeches and dance with Peking Opera and revolutionary stories.” The red flag waving, the enemy fell, but also accompanied by the “International Song” chorus.
It is by watching these video records that I started the project.” Said William Kentridge.
Fifth, the association
Among those I know, people who born before 1978 have memories of the model operas. My mother, uncle, and my grandmother acted as a character in the model drama “The White-Haired Girl” in her hometown. My grandfather even knew her because of this performance.
These model plays, as well as the small red book（Quotations from Chairman Mao Tse-tung）. It is a generation’s memory, no matter how complicated it is. People’s daily life was filled with them，the figures, the symbols, the music, the faces.
