[CHINESE OPERA MASKS].Biblio.com
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1986223029Sichuan.: 四川美术出版社. Sichuan meishu chubanshe. 1986. Poster showing 56 captioned Chinese Sichuan Opera facepaint masks. Text in simplified Chinese characters 76 x 52.5cm occasional light creasing corner pinholes in very good and bright condition. In Chinese opera individual characters are distinguished by highly codified facial make-up often described as painted “masks” and in some regional traditions particularly Sichuan opera by the use of actual masks. These visual conventions function as an interpretive guide for audiences signalling a character’s identity personality and moral attributes. Musical style facial design and costume vary markedly between regional operatic forms including Beijing opera Sichuan opera Yue opera and Cantonese opera reflecting distinct local performance traditions and aesthetic systems. . 四川美术出版社. [Sichuan meishu chubanshe]. unknown
1984008770Los Angeles: William Granger 1984. First Edition . Green Cloth. Fine. Photographs. One of apparently only 100 copies of this outstanding privately published summary of the careers and Metropolitan Opera performances of several hundred singers. The book was given to some of those who provided photographs and other copies given to selected public libraries; the correspondence of the author and his respondents indicate that only 100 copies were printed but the actual number is unknown. In any case it is very scarce. This particular copy is a clean and near-new presentation copy and comes with an extensive file of miscellaneous correspondence relating to the author's requests for photographs and other matters relating to publication and distribution of the book. An extensive file of signed and unsigned memorabilia including the photographs in the book are also available individually in our Opera catalog. <br/> <br/> William Granger hardcover
1988159709San Francisco: The Folcrom 1988. Vintage flyer announcing four performances of an opera entitled "Watt" adapted from the Samuel Beckett novel performed by The Tiny Dead Bodies Opera Company at The Folcrom San Francisco October 21 and 22 28 and 29 1988.<br /> <br /> Based on the 1953 novel by Samuel Beckett. The Folcrom was a non-profit installation and performance space located at 2150 Folsom Street San Francisco from 1987-1991.<br /> <br /> 8.5 x 14 inches on pale yellow paper. Very Good plus with pinholes to the corners and a small crease to the lower left corner. The Folcrom unknown
19942110502150502368Ongaku no Tomosha 1994. Soft Cover. Fine. Volume: 1 Ongaku no Tomosha paperback
1966139935Columbia Records 1966. lp_record. Very Good. 0x0x0. All three discs without visible wear in clean sleeves with numbers notated in upper corners; 62-page libretto with photos is clean and unmarked with glossy cover; box has minimal wear. Columbia Records unknown
199828043<p>VARIETY 1998. MAGAZINE NEWSPAPERS LIGHT RUB WEAR 1ST EDITION 1998 VG 10 1/2 IN X 14 1/4 . Musical Show which also launched career of Sarah Brightman Female lead Christine who was married to Andrew Lloyd Webber Phantom based on a Gaston Leroux novel various articles & color pictures other shows etc Born 1942 & is British who was married to Andrew Lloyd Webber Phantom based on a Gaston Leroux novel . Signed by Author. 1st Edition. Soft Cover. Very Good/No Jacket.</p> VARIETY paperback
1976100846<p>New York April 19 1976. 1976. Fine. - Over 60 words typed on 10-1/2 inch high by 7-1/4 inch wide "MET: Metropolitan Opera Association Lincoln Center" stationery. The executive director of the Metropolitan Opera Anthony Bliss replies to City Center's former producer and director Jean Dalrymple's suggestion that she could be helpful to City Center again in managing the four ballet companies associated with the MET "Regardless of what kind of arrangements we may make on behalf of the ballet companies we certainly will want to get the benefit of your ideas and experience." Signed "Tony". Folded for mailing else fine.</p><p>Together with the retained copy of Jean Dalrymple's letter of April 6 1976.</p><p>The executive director of the Metropolitan Opera Anthony A. Bliss 1913-1991 gave up his law practice in 1974 to take over what was then a financially troubled organization. He co-operated with music director & chief conductor James Levine and the director of production John Dexter in the early 1980's. Bliss was also co-chairman of the Joffrey Ballet. Though tall and distinctive looking his wife Sally described him as "the most unsophisticated man I ever met. I pick out his clothes." and elaborated by saying "He has no gourmet instincts: I could feed him a can of Alpo." With a sense of humor Bliss then started keeping a can of dog food on his desk. President Lyndon Johnson appointed Bliss to the original National Council on the Arts.</p><p>The recipient Jean Dalrymple 1902-1998 was the dynamic producer and director of theater and light-opera at Manhattan's City Center. Dalrymple began her career in Vaudeville appearing with James Cagney and Carey Grant in the early 1930s. She was a founding member of the American Theatre Wing the theatre service organization. She worked over the years as a personal manager for the likes of Leopold Stokowski Mary Martin Jos Iturbi Andre Kostalanetz Nathan Milstein and Lily Pons. She began her work at City Center with its founding in 1943 serving as a board member and publicist. Her productions there from the 1940s through the 1960s were a revitalizing influence on the whole New York theatre scene. In 1951 Jean Dalrymple married Major-General Philip deWitt Ginder commander of the Thunderbirds in Korea. She was a friend to Presidents and entertainment personalities throughout the world.</p> New York, April 19, 1976. hardcover
198028607New York: October 14 1980. 1980. Very good. - sc Quarto 11 inches high by 8-3/8 inches high. 201 words typed on a sheet of cream paper with her address typed at the top. Signed "Constance DeJong". The left edge of the paper is darkened & there is a light paper-clip mark to the top left corner with a small light stain just below the body of the letter. Very good. <p>DeJong writes to Gary Wilkie of Contexts in Seattle to ask if she could present her new work there as part of a tour that will take her to Portland Oregon. She encloses a photo and resume: "It's not very up to date in terms of the new work I'd be presenting or the recently completed book and opera I wrote with Philip Glass." A publicity sheet from Art Performances New York states: "Constance DeJong is one of the young post-modern writers who has made performance a natural extension of her work as a writer. By blending some of the traditional techniques of theatre - lighting movement music - performances extend her work beyond the written word into an almost tactile presence a context where the narrative can come to life. New York: October 14, 1980. unknown
192920354Paris: Opéra Privé de Paris 1929. Good/No Dust Jacket As Issued. <br /> RUSSIAN MODERNISM REBORN ON THE PARISIAN STAGE.<br /> A visually striking Première Saison program documenting the post-Diaghilev continuation of Russian operatic and theatrical culture in interwar Paris. Issued by the newly founded Opéra Privé de Paris in 1929 this richly illustrated production program for Rimsky-Korsakov's 'Tsar Saltan' preserves the artistic language of the Ballets Russes through tipped-in color costume and scenic designs after Ivan Bilibin and Alexandre Korovine.<br /> <br /> Founded immediately following the death of Sergei Diaghilev the Opéra Privé de Paris sought to sustain the creative energy of Russian émigré theater in Western Europe. This production united performers designers and musicians associated with the Russian diaspora transforming Pushkin's fairy-tale opera into a vivid expression of émigré modernism transplanted into the cultural life of Paris.<br /> <br /> PHYSICAL DESCRIPTION: Quarto format approximately 9.5 × 12.5 inches. Stapled illustrated wraps with full-color chromolithographic cover after Ivan Bilibin. Illustrated with six tipped-in color chromolithographs of costume designs after Bilibin executed from stage maquettes by Alexandre Korovine together with two additional tipped-in scenic plates and a tipped-in color portrait of Madame Maria Kousnezoff-Massenet by Nicolas Kousnezoff. Numerous illustrated period advertisements throughout including several full-page advertisements.<br /> <br /> CONDITION: One advertisement leaf detached but present. Plates remain vivid and visually strong with only light handling wear to the wraps. Staples sound. A well-preserved and unusually attractive example of interwar Parisian opera ephemera. Première Saison issue.<br /> <br /> Première Saison programs of the Opéra Privé de Paris survive in comparatively small numbers particularly examples retaining the full suite of tipped-in color plates after Ivan Bilibin. Comparable illustrated programs from this short-lived company appear only intermittently in the market especially in near-complete condition. HISTORICAL SIGNIFICANCE -<br /> The Opéra Privé de Paris was co-directed by the Russian soprano Maria Kousnezoff-Massenet and functioned as an important cultural bridge for displaced Russian artists after the Revolution. Though short-lived the company preserved important elements of Russian operatic staging and Ballets Russes visual identity during a transitional moment in European theater history.<br /> <br /> Ivan Bilibin's influence on Russian stage aesthetics remained profound well into the twentieth century and his designs for productions such as 'Tsar Saltan' helped define the visual mythology of Russian folklore on the international stage.<br /> <br /> This program captures a pivotal moment in the evolution of Russian theatrical modernism after the dissolution of the Ballets Russes. Following Diaghilev's death in 1929 Russian émigré artists in Paris sought new institutional forms through which to continue the aesthetic innovations that had transformed European stage culture during the previous two decades.<br /> <br /> The production of Rimsky-Korsakov's 'Tsar Saltan' adapted from Pushkin's fairy-tale poem provided an ideal vehicle for this visual and musical continuity. The decorative richness of Ivan Bilibin's folkloric imagery combined with the scenic interpretation of Alexandre Korovine preserves the highly ornamental stage language that became synonymous with Russian theatrical design in the early twentieth century.<br /> <br /> Beyond its theatrical importance the program also presents a vivid portrait of interwar Parisian cultural life. Its advertisements portraiture typography and chromolithographic inserts collectively illustrate the commercial and artistic environment surrounding Russian émigré performance culture in France between the wars.<br /> <br /> SUBJECTS: Ballets Russes Legacy Ivan Bilibin Stage Design Russian Émigré Art Paris Theater History Rimsky-Korsakov Tsar Saltan Interwar Opera Culture Russian Opera In Paris Chromolithographic Illustration Illustrated Performance Programs Opera Ephemera Theater History Russian Modernism Illustrated Programs. Opéra Privé de Paris unknown
1973146818N.p.: N.p. 1973. Agency Draft script for the 1975 film. With 31 pages of director Ingmar Bergman's commentary bound in after the script. Text in Swedish.<br /> <br /> Based on the 1791 German opera about a young prince tasked with rescuing a princess from a mysterious high priest. Widely considered one of the most successful operatic adaptations to film ever released. <br /> <br /> Shot on location in Stockholm Sweden. <br /> <br /> Pale yellow untitled wrappers. Title page present dated November 1973 with credits for director Ingmar Bergman and screenwriter Alf Henrikson. 93 leaves with last page of text numbered 61. Xerographic duplication rectos only. Pages Very Good plus wrapper Very Good plus with a black comb binding.<br /> <br /> Criterion Collection 71. N.p. unknown
1963x00605<p>Minerva 1963. 4to. 351 pp. Very Good. Lettering to spine a bit faded 1" tear to rear endpaper. Facsimile.<br /><br /></p> Minerva hardcover
192451696New York NY; Hollywood CA; Taos NM: Underwood & Underwood Anderson Lumiere Guard Vitaphone Studios Metropolitan Music Bureau 1924-1927. Twenty seven items. With 24 photographs 3 sized 3.5 x 5.5 in.; 6 sized 5 x 7.75 in.; 1 w/ colour-tinted blue sized 7.25 x 9.5 in.; 16 sized 8 x 10 in.; many w/ annotations dating the photos in pencil some of the press photos and studio photos stamped on versos with attached newsreel information blurbs many w/ text in negative at lower corner of image; 1 very large colour lithograph poster printed on linen showing the young opera star seated and colours of pink gold and black sized 40 x 80 in. w/ wood bars at upper & lower for hanging some minor creasing from rolling but in Fine condition; and TLS from Lawrence H. Smith at Underwood & Underwood Inc. News Picture Division to Miss Marion Talley. These photographs and giant lobby poster provide splendid artifacts for the lavish attention paid to a young star at the beginning of her career during the Jazz Age. The very large poster is a beautiful example of colour lithography showing her demurely seated against a pink lozenge background with advertisements at the foot of the poster for Steinway Piano and Victor Records. Marion Talley 1906-1983 was the daughter of a telegraph operator for the Missouri Pacific Railroad and by 15 she was appearing in the Kansas City Grand Opera Company of Mignon by Abroise Thomas and quickly became a local celebrity often performing benefit concerts. She studied with music teacher Frank LaForge famed soprano composer who maintained a close relationship with the Metropolitan Opera and was placed under contract in 1925 by Giulio Gatti-Casazza at age 19 becoming the youngest principal female performer in the Met’s history to that point. Her debut performance was Feb. 17 1926 as Gilda the daughter of the title character in Verdi’s Rigoletto. The press photos show her surrounded by the many flowers she received in the 18 encores her performance on stage meeting the opera diva Ernestine Schumann-Heinck d. 1936 as well as her appearance on radio with Marguerite D’Alvarez and Giovanni Martinelli singing Home! Sweet Home!. In addition she also starred in the first Vitaphone short sound films released in 1926 with Don Juan starring John Barrymore and another Vitaphone short performing “Bella figlia dell’amore†from Rigoletto but the critics were savage criticizing her performances and her lack of appeal on camera. During this period she traveled extensively to Europe and through the southwest as evidenced by the series of photos showing her in Taos with the burros young Native American children and adults in regalia as well as her automobile. The photo of the young star by Samuel Lumiere 1878-1971 is a very nice example of his portrait work during the height of the 1920s when he was under contract to shoot celebrities for the Chicago Tribune. See: Barrios A Song in the Dark: The Birth of the Musical Film pp. 20-29; Vitaphone Marks 80th Anniversary Vitaphone News The Vitaphone Project Vol. 8 No. 1 2006; Crafton The Talkies: American Cinema’s Transition to Sound 1926-1931 1999. Underwood & Underwood, Anderson, Lumiere, Guard, Vitaphone Studios, Metropolitan Music Bureau, unknown
1936300382Paris: Alliance de Publicite et de’Impression 1936. Full color program for the 1936-1937 season of Ballet Russe de Monte Carlo presented by Col. de Basil. Cover illustration by I. Bilibine on silver paper jacket folded over plain covers~ ~66pp. with 4 pages of tipped-in color plates on both sides picturing different aspects of the production such as the costumes and scenery. Some wear to cover edges and bottom of spine. Good. Alliance de Publicite et de’Impression unknown
1982Q-0961054204The Washington Opera 1982-06-01. Paperback. New. In shrink wrap. Looks like an interesting title! The Washington Opera paperback
1994Q-0961054212Washington Opera Women&S Committee 1994-01-01. Spiral-bound. New. In shrink wrap. Looks like an interesting title! Washington Opera Women&S Committee unknown
1924191217New Jersey: Victor Talking Machine Company 1924. Seventh Edition; revised. Hardcover. Very Good in boards. Top text block edge gilded fading. Victor Talking Machine Company hardcover
194952974New York:: Metropolitan Opera House October 9 1949. original printed wrappers. . Some light creasing and use to the wrappers. 8vo. Boldly signed by Margot Fonteyn on the first text page of the program. Metropolitan Opera House, unknown
1956HALL512162Paperback. 1956. 58pp illustrated throughout card covers 4to London 1956. Loosely inserted are programmes for the 1956 production of The Sleeping Beauty and the 1957 productions of The Prince of the Pagodas & Le Lac des Cygnes. Silver covers slightly rubbed. . paperback
1972203FOREIGN LANGUAGE PRESS PEKING 1972. Soft cover. As New/As New. RARE.; Book <br/> <br/> FOREIGN LANGUAGE PRESS PEKING paperback
1971AG-10050<p><b><i>The Red Lantern Full Score</i></b><b><i>红ç¯è®°</i></b><b><i> Hong Deng Ji</i></b></p><p>Beijing: Published by People's Publishing House printed by Beijing Xinhua Printing Factory distributed by Xinhua Bookstore Beijing Distributing Agency，August 1971<b> FIRST EDITION</b>. The May 1970 Script Created Collectively by the China Peking Opera troupe. Quotations from Chinaman Mao on the second and third page 8vo. xii 380 2 pp. colophon printed titled wrappers <i>crease to the cover very slight tear to the foot of the binding else fine condition.</i></p><p>In China revolutionary operas or model operas Chinese: yangban xi æ ·æ¿æˆ were a series of shows planned and engineered during the Cultural Revolution 1966–1976 by Jiang Qing the wife of Chairman Mao Zedong. They were considered revolutionary and modern in terms of thematic and musical features when compared with traditional Chinese operas. Many of them were adapted to film.</p><p>京剧《红ç¯è®°ã€‹æ€»è°±</p><p>北京：人民出版社出版，ä¸å›½äº¬å‰§å›¢é›†ä½“制作，基于1970年五月演出本，第一版，书的å‰ä¸¤é¡µæœ‰æ¯›ä¸»å¸è¯å½•ï¼Œå…±380页主体内容。书皮ç¨æœ‰ä¸€é“上下方å‘折痕，其他å“相éžå¸¸å¥½ã€‚</p><p>In China revolutionary operas or model operas Chinese: yangban xi æ ·æ¿æˆ were a series of shows planned and engineered during the Cultural Revolution 1966–1976 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 Chinese operas. Many of them were adapted to film.</p><p>Originally eight revolutionary operas Chinese: Ba Ge Yangban Xi å…«ä¸ªæ ·æ¿æˆ were produced eighteen by the end of the period. Instead of the "emperors kings generals chancellors maidens and beauties" of the traditional Peking opera which was banned as "feudalistic and bourgeois" they told stories from China's recent revolutionary struggles against foreign and class enemies. They glorified the People's Liberation Army and the bravery of the common people and showed Mao Zedong and his thought as playing the central role in the victory of socialism in China. Although they originated as operas they soon appeared on LPs in comic books lianhuanhua on posters postcards and stamps; on plates teapots wash basins cigarette packages vases and calendars. They were performed or played from loudspeakers in schools factories and fields by special performing troupes. The Eight Model Operas dominated the stage in all parts of the country during these years leading to the joke "Eight hundred million people watched eight shows."</p><p>本剧是文é©æ—¶æœŸçš„å…«å¤§æ ·æ¿æˆä¹‹ä¸€ã€Šçº¢ç¯è®°ã€‹ï¼Œç”±æ¯›ä¸»å¸å¤«äººæ±Ÿé’负责制作和演出。很多被æ‹æˆäº†ç”µå½±ã€‚</p><p>最åˆæœ‰å…«ä¸ªæ ·æ¿æˆï¼ŒåŽæ¥åœ¨æ–‡é©æ—¶æœŸçš„åŽæœŸå‘展到了18个。ä¸åƒå› å°å»ºå’Œèµ„产阶级的被ç¦äº†çš„ä¼ ç»Ÿäº¬å‰§ï¼Œé‡Œé¢å‡ºçŽ°çš„ä¸çš„国王大臣少女和美人，é©å‘½çŽ°ä»£äº¬å‰§ä¸»è¦è®²è¿°ä¸å›½è¿‘å¹´æ¥çš„抗战故事，宣扬人民解放军的光辉è£è€€å’Œæ¯›ä¸»å¸çš„英勇。虽然是京剧，很快就å˜æˆäº†å„ç§å½¢å¼å‡ºçŽ°åœ¨è¿žçŽ¯ç”»ã€æµ·æŠ¥ã€æ˜Žä¿¡ç‰‡ã€é‚®ç¥¨ã€é¦™çƒŸã€èŠ±ç“¶ã€æ—¥åŽ†ç‰å„ç§åœ°æ–¹ï¼Œç”¨æ‰©éŸ³å–‡å在å¦æ ¡ã€å·¥åŽ‚ç‰åœ°æ–¹ï¼Œç”±æ¼”出团进行表演。8ä¸ªæ ·æ¿æˆä¸»å¯¼äº†å…¨å›½æ‰€æœ‰çš„舞å°ï¼Œå› æ¤æœ‰äº†8亿人看8个剧的笑è¯ã€‚</p><p><i><br /></i></p> People’s Publishing House paperback
1972AG-10053<p>Beijing: Published by C printed by Beijing Xinhua Printing Factory distributed by Xinhua Bookstore Beijing Distributing Agency February 1972 <b>FIRST EDITION</b> 8vo. The May 1970 Script Revised Collectively by the China Peking Opera Troupe. iv 374 pp. colophon consists of scripts stage photos selected theme score stage action instruction and the stage design started with quotations from Chairman Mao on the second and third page printed pictorial wrappers <i>slightly curled at the head and foot of the wrappers minor tears to the edge of the wrappers else fine condition.</i></p><p>北京：人民出版社出版。本书å‰ä¸¤é¡µå¸¦æœ‰æ¯›ä¸»å¸è¯å½•ï¼Œå†…容包括了剧本ã€å‰§ç…§ã€ä¸»æ—‹å¾‹ã€åŠ¨ä½œè¯´æ˜Žç‰è¯¦ç»†å†…容，由照片和文å—çš„å½¢å¼ç»„æˆï¼Œç…§ç‰‡å›¾ç‰‡å¾ˆå¤šï¼Œä¹Ÿæ˜¯æœ¬ä¹¦çš„一大特色。书皮上下两段ç¨å¾®å·èµ·ï¼Œå…¶ä»–部分å“相éžå¸¸å¥½ã€‚</p><p>In China revolutionary operas or model operas Chinese: yangban xi æ ·æ¿æˆ were a series of shows planned and engineered during the Cultural Revolution 1966–1976 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 Chinese operas. Many of them were adapted to film.</p><p>Originally eight revolutionary operas Chinese: Ba Ge Yangban Xi å…«ä¸ªæ ·æ¿æˆ were produced eighteen by the end of the period. Instead of the "emperors kings generals chancellors maidens and beauties" of the traditional Peking opera which was banned as "feudalistic and bourgeois" they told stories from China's recent revolutionary struggles against foreign and class enemies. They glorified the People's Liberation Army and the bravery of the common people and showed Mao Zedong and his thought as playing the central role in the victory of socialism in China. Although they originated as operas they soon appeared on LPs in comic books lianhuanhua on posters postcards and stamps; on plates teapots wash basins cigarette packages vases and calendars. They were performed or played from loudspeakers in schools factories and fields by special performing troupes. The Eight Model Operas dominated the stage in all parts of the country during these years leading to the joke "Eight hundred million people watched eight shows."</p><p>本剧是文é©æ—¶æœŸçš„å…«å¤§æ ·æ¿æˆä¹‹ä¸€ï¼Œç”±æ¯›ä¸»å¸å¤«äººæ±Ÿé’负责制作和演出。很多被æ‹æˆäº†ç”µå½±ã€‚</p><p>最åˆæœ‰å…«ä¸ªæ ·æ¿æˆï¼ŒåŽæ¥åœ¨æ–‡é©æ—¶æœŸçš„åŽæœŸå‘展到了18个。ä¸åƒå› å°å»ºå’Œèµ„产阶级的被ç¦äº†çš„ä¼ ç»Ÿäº¬å‰§ï¼Œé‡Œé¢å‡ºçŽ°çš„ä¸çš„国王大臣少女和美人，é©å‘½çŽ°ä»£äº¬å‰§ä¸»è¦è®²è¿°ä¸å›½è¿‘å¹´æ¥çš„抗战故事，宣扬人民解放军的光辉è£è€€å’Œæ¯›ä¸»å¸çš„英勇。虽然是京剧，很快就å˜æˆäº†å„ç§å½¢å¼å‡ºçŽ°åœ¨è¿žçŽ¯ç”»ã€æµ·æŠ¥ã€æ˜Žä¿¡ç‰‡ã€é‚®ç¥¨ã€é¦™çƒŸã€èŠ±ç“¶ã€æ—¥åŽ†ç‰å„ç§åœ°æ–¹ï¼Œç”¨æ‰©éŸ³å–‡å在å¦æ ¡ã€å·¥åŽ‚ç‰åœ°æ–¹ï¼Œç”±æ¼”出团进行表演。8ä¸ªæ ·æ¿æˆä¸»å¯¼äº†å…¨å›½æ‰€æœ‰çš„舞å°ï¼Œå› æ¤æœ‰äº†8亿人看8个剧的笑è¯ã€‚</p> People’s Publishing House paperback
1972AG-10057<p><b><i>The Red Lantern Script</i></b><b><i>红ç¯è®°</i></b><b><i> Hong Deng Ji</i></b><br /></p><p>Beijing: Published by People's Publishing House printed by Beijing Xinhua Printing Factory distributed by Xinhua Bookstore Beijing Distributing Agency February 1972 <b>FIRST EDITION</b> 8vo. The May 1970 Script Revised Collectively by the China Peking Opera Troupe. iv374 pp. colophon consists of scripts stage photos selected theme score stage action instructions and designs beginning with quotations from Chairman Mao on the second and third pages printed pictorial stiff cover wrappers <i>fine condition.</i></p><p>京剧《红ç¯è®°ã€‹å‰§æœ¬</p><p>北京：人民出版社出版，ä¸å›½äº¬å‰§å›¢é›†ä½“制作，基于1970年五月演出本，1970å¹´12月第一版，书的å‰ä¸¤é¡µæœ‰æ¯›ä¸»å¸è¯å½•ï¼Œå…±374页主体内容。精装，å“相éžå¸¸å¥½ã€‚</p> People’s Publishing House hardcover
1972AG-10058<p>Beijing: Published by Foreign Language Press 1972 <b>FIRST EDITION</b>. The May 1970 Script Revised Collectively by China Peking Opera Troupe. Started with Quotation from Chairman Mao on the first page. Large 8vo. vii 98 1 pp. colophon printed pictorial wrappers<i> very good condition.</i><br /></p><p><i>北京：外文出版社出版，</i><i>1972</i><i>年第一版，由ä¸å›½äº¬å‰§å›¢æ ¹æ®</i><i>1970</i><i>年剧本è”åˆæ”¹ç¼–。å‰é¡µå¸¦æœ‰æ¯›ä¸»å¸è¯å½•ã€‚å“相éžå¸¸å¥½ã€‚</i></p><p>In China revolutionary operas or model operas Chinese: yangban xi æ ·æ¿æˆ were a series of shows planned and engineered during the Cultural Revolution 1966–1976 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 Chinese operas. Many of them were adapted to film.</p><p>Originally eight revolutionary operas Chinese: Ba Ge Yangban Xi å…«ä¸ªæ ·æ¿æˆ were produced eighteen by the end of the period. Instead of the "emperors kings generals chancellors maidens and beauties" of the traditional Peking opera which was banned as "feudalistic and bourgeois" they told stories from China's recent revolutionary struggles against foreign and class enemies. They glorified the People's Liberation Army and the bravery of the common people and showed Mao Zedong and his thought as playing the central role in the victory of socialism in China. Although they originated as operas they soon appeared on LPs in comic books lianhuanhua on posters postcards and stamps; on plates teapots wash basins cigarette packages vases and calendars. They were performed or played from loudspeakers in schools factories and fields by special performing troupes. The Eight Model Operas dominated the stage in all parts of the country during these years leading to the joke "Eight hundred million people watched eight shows."</p><p>本剧本属于文é©æ—¶æœŸçš„å…«å¤§æ ·æ¿æˆï¼Œç”±æ¯›ä¸»å¸å¤«äººæ±Ÿé’负责制作和演出。很多被æ‹æˆäº†ç”µå½±ã€‚</p><p>最åˆæœ‰å…«ä¸ªæ ·æ¿æˆï¼ŒåŽæ¥åœ¨æ–‡é©æ—¶æœŸçš„åŽæœŸå‘展到了18个。ä¸åƒå› å°å»ºå’Œèµ„产阶级的被ç¦äº†çš„ä¼ ç»Ÿäº¬å‰§ï¼Œé‡Œé¢å‡ºçŽ°çš„ä¸çš„国王大臣少女和美人，é©å‘½çŽ°ä»£äº¬å‰§ä¸»è¦è®²è¿°ä¸å›½è¿‘å¹´æ¥çš„抗战故事，宣扬人民解放军的光辉è£è€€å’Œæ¯›ä¸»å¸çš„英勇。虽然是京剧，很快就å˜æˆäº†å„ç§å½¢å¼å‡ºçŽ°åœ¨è¿žçŽ¯ç”»ã€æµ·æŠ¥ã€æ˜Žä¿¡ç‰‡ã€é‚®ç¥¨ã€é¦™çƒŸã€èŠ±ç“¶ã€æ—¥åŽ†ç‰å„ç§åœ°æ–¹ï¼Œç”¨æ‰©éŸ³å–‡å在å¦æ ¡ã€å·¥åŽ‚ç‰åœ°æ–¹ï¼Œç”±æ¼”出团进行表演。8ä¸ªæ ·æ¿æˆä¸»å¯¼äº†å…¨å›½æ‰€æœ‰çš„舞å°ï¼Œå› æ¤æœ‰äº†8亿人看8个剧的笑è¯ã€‚</p> Foreign Language Press paperback
19735vDh0006New York: The New York City Opera Guild 1973. Book. Very Good. Spiralbinding Soft Cover. Copyright © 1973. 8vo or 8° Medium Octavo: 7¾" x 9¾" tall. 187 pp. Solidly bound copy with minimal external wear crisp pages and clean text. The New York City Opera Guild Paperback
1991Q-0062730517HarperCollins Publishers 1991-11-01. Paperback. New. New. In shrink wrap. Looks like an interesting title! HarperCollins Publishers paperback
