Wandering willows chacha12/30/2022 Taiwanese opera has served mainly to attract people by creating a raucous atmosphere, rather than demanding appreciation as an art form. #Wandering willows chacha freeAt free outdoor temple performances, people show little interest, much less cough up money to sit in rapt attention. This is virtually unprecedented for the traditional forms of Taiwanese opera. When there is a pause that lasts a minute or so, there is not the slightest sound on stage or off, with only the faint whirr of the air conditioning disturbing the silence. The intense exchange between the two captivates the audience. Later, a corrupt official threatens to expose Shao's mistaken identity. Amidst the strains of the zither-like guqin, the girl performs a fan dance, while the student accompanies her with a sword dance. The daughter and the student fall in love at first sight. The magistrate mistakenly believes Shao to be an official sent by the emperor, and is hoping to marry his daughter off to Shao. In an elegant garden with a small bridge, a trickling stream, overhanging willows, and a small pavilion, the magistrate of Tainan Prefecture hosts the wandering student Shao Zidu. The curtain goes up, ranks of stage lights go on, and the show begins. There is an air of anticipation permeating the theater. The sounds of instruments being tuned blends with the low murmur of audience conversations. Half-hidden in the performance pit is the Taipei Municipal Chinese Classical Orchestra, directed by Chen Chung-shen, himself a skilled player of the dizi (Chinese flute). In a high-ceilinged modern theater, the seats are packed with people. This not only provided an answer to the query posed by Chung, it also provided an "alternative" experience for the audiences who had only seen Taiwanese opera on traditional outdoor stages in front of temples. Then, at the end of last year, came the performance by Ho Lo. "Of all the traditional forms of drama in Taiwan, why is it that only Peking opera is innovating? When will we see Taiwanese opera versions of Medea or Macbeth?" Thus wrote Professor Chung Ming-te of the National Institute of the Arts in an article entitled "Reflections on Chinese Operatic Versions of Western Classics." Moreover, the play was staged in a modern indoor theater format, which differs considerably from the traditional less-structured outdoor staging of Taiwanese opera, usually at temple-sponsored events and aimed merely at "celebrating the gods and entertaining the people." These innovations marked one small step for the Ho Lo troupe, but one giant leap for Taiwanese opera. A marriage between Taiwanese opera and Russian drama is amazing enough.
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