![]() ![]() ![]() ![]() ![]() It was the battles and hardships of Concubine Yu, representing a classic Peking Opera piece Cheng Dieyi, an image of a celebrated Peking Opera actor and the Peking Opera itself – all struggling to preserve their own but shared glorious moments in China’s cultural stage.įor comparison, I was able to see some points of parallelisms, as shown in the film, among the lives of these three characters. There were therefore three faces of revolution that were showcased in the film. The opera’s attempt to resist and struggle against Cultural Revolution is also thus mirrored in the lives of the two characters in the film. The movie however did not show that solely on the history of opera, and instead also somewhat portrayed it in other forms such as thought the lives of Farewell My Concubine the play’s Concubine Yu, and the Peking Opera actor Cheng Dieyi. It has taken away China’s higher culture. The Cultural Revolution did not only take away China’s old culture. Having known of the Kaige’s first-hand experience of the Cultural Revolution in China, it then became clear that the film is nothing less than a critique to the movement which attempted to vanquish all previous elements – may it be in religion or art – in China. This is not just about the evolution of the Peking opera. The portrayal of the Peking opera, as well as the people around it however is so strong and is intensely submerged within history that at the peak of historical and cultural unfolding in China, I came into thinking that it is not simply a historical film. Or is it? Is it merely it? Chen Kaige’s Farewell My Concubine is indeed a magnificent piece of art which exemplifies nothing less than art itself, the Peking opera, which is actually the ultimate form of Chinese art I must say. ![]()
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