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Landscaping the Power Matrix : = Inventing and Manufacturing Chineseness Through Landscape Performing Arts.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Landscaping the Power Matrix :/
其他題名:	Inventing and Manufacturing Chineseness Through Landscape Performing Arts.
作者:	Liu, Quan.
面頁冊數:	1 online resource (424 pages)
附註:	Source: Dissertations Abstracts International, Volume: 84-05, Section: A.
Contained By:	Dissertations Abstracts International84-05A.
標題:	Theater. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29732045click for full text (PQDT)
ISBN:	9798352978993

Landscaping the Power Matrix : = Inventing and Manufacturing Chineseness Through Landscape Performing Arts.
Liu, Quan.

Landscaping the Power Matrix :Inventing and Manufacturing Chineseness Through Landscape Performing Arts. - 1 online resource (424 pages)

Source: Dissertations Abstracts International, Volume: 84-05, Section: A.

Thesis (Ph.D.)--The University of Liverpool (United Kingdom), 2021.

Includes bibliographical references

Landscape Performing Arts (LPA) is a series of large-scale performances that burgeons in China. The performances use natural scenery in open-air theatres, coupled with spectacular visual and audio effects from modern stage technologies. They employ hundreds of local amateur performers who display their culture and history through music and choreography to domestic and international tourists. LPA highlights the traditional Chinese philosophy of "harmony between humans and nature". Following the first 2003 performance Impression Liu Sanjie, LPA became a colossal industry involving hundreds of LPA, each having a distinctly regional flavour. More recently, the LPA format has been exported to Vietnam and Malaysia.Drawing on Mitchell's conceptualisation of "landscape and power", which considers landscape as a verb and a central instrument of cultural force in the creation of national identities, this thesis will investigate the emergence and development of LPA and aims to discover a new power dynamic shaped by the landscape in China and beyond. It explores how the power of the Chinese landscape in the new form of theatre has been wielded to reinforce the political dominance of the party-state. The research findings show that both the mobility and immobility of landscape have transited LPA from local to national and then to transnational contexts, weaving a "landscape matrix" for domestic governance. I argue that LPA enables the state's centralised power to become dispersed throughout the landscape, creating a sensorial practice that disciplines and governs the subject's perception and body under rather natural conditions. As a natural power, the landscape in LPA naturalises the ideological tensions of the developing cultural tourism industry, resolving the dichotomy between the promotion of cultural diversity and a controlled united Chineseness.The research involved a combination of ethnographic research, textual analysis, and three case studies enabling in-depth examination of specific aspects of LPA. It fills the academic gap by contributing to the breadth of knowledge concerning this important art genre. Moreover, by locating LPA in the context of Chineseness and the sublime, the thesis enriches the theoretical framework for analysing art in relation to landscape and power while also contributing new insights into the construction of Chineseness through performing arts.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798352978993Subjects--Topical Terms:

522973
Theater.
Index Terms--Genre/Form:

542853
Electronic books.

Landscaping the Power Matrix : = Inventing and Manufacturing Chineseness Through Landscape Performing Arts.
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504 $a Includes bibliographical references
520 $a Landscape Performing Arts (LPA) is a series of large-scale performances that burgeons in China. The performances use natural scenery in open-air theatres, coupled with spectacular visual and audio effects from modern stage technologies. They employ hundreds of local amateur performers who display their culture and history through music and choreography to domestic and international tourists. LPA highlights the traditional Chinese philosophy of "harmony between humans and nature". Following the first 2003 performance Impression Liu Sanjie, LPA became a colossal industry involving hundreds of LPA, each having a distinctly regional flavour. More recently, the LPA format has been exported to Vietnam and Malaysia.Drawing on Mitchell's conceptualisation of "landscape and power", which considers landscape as a verb and a central instrument of cultural force in the creation of national identities, this thesis will investigate the emergence and development of LPA and aims to discover a new power dynamic shaped by the landscape in China and beyond. It explores how the power of the Chinese landscape in the new form of theatre has been wielded to reinforce the political dominance of the party-state. The research findings show that both the mobility and immobility of landscape have transited LPA from local to national and then to transnational contexts, weaving a "landscape matrix" for domestic governance. I argue that LPA enables the state's centralised power to become dispersed throughout the landscape, creating a sensorial practice that disciplines and governs the subject's perception and body under rather natural conditions. As a natural power, the landscape in LPA naturalises the ideological tensions of the developing cultural tourism industry, resolving the dichotomy between the promotion of cultural diversity and a controlled united Chineseness.The research involved a combination of ethnographic research, textual analysis, and three case studies enabling in-depth examination of specific aspects of LPA. It fills the academic gap by contributing to the breadth of knowledge concerning this important art genre. Moreover, by locating LPA in the context of Chineseness and the sublime, the thesis enriches the theoretical framework for analysing art in relation to landscape and power while also contributing new insights into the construction of Chineseness through performing arts.
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