Josh Stenberg is a lecturer in Chinese Studies at the School of Languages and Cultures in the University of Sydney, Australia. For the last fifteen years, he has worked for, on, and with xiqu (Chinese opera) companies and performers.

This is a very important book on a unique genre of Chinese opera that, I believe, will benefit students of world theater.

• List of IllustrationsAcknowledgmentsSeries PrefacePrefaceIntroduction: Liyuanxi in the Family of Chinese TheatresQuanzhou and Hokkien Culture and IdentityOrigin of the Genre Name and Role of Marshal TianThree Tendencies of Liyuanxi1. Liyuanxi HistoryEarly History and Textual HeritageLiyuanxi in the Modern EraThe Troupe in SocietyDiasporic Liyuanxi2. Performance Foundations and StyleAesthetics and TechniqueStage MotionRole TypesLiyuanxi Speech, Music and ProsodyMake-up, Costumes, Stages3. RepertoireOverviewTraditional Romantic Play: Chen San and WuniangZhu Wen and the Lucky Coins: Traditional Ghost PlayTraditional Humorous Play: Zhu MaichenContemporary Tragic Play: The Chaste Woman’s LamentContemporary Humorous Play: Scholar Dong and Madam LiRevising for Gender: The Imperial SteleConclusionsEndnotesBibliographyIndex

Josh Stenberg is a lecturer in Chinese Studies at the School of Languages and Cultures in the University of Sydney, Australia. For the last fifteen years, he has worked for, on, and with xiqu (Chinese opera) companies and performers.

This is a very important book on a unique genre of Chinese opera that, I believe, will benefit students of world theater.

• List of IllustrationsAcknowledgmentsSeries PrefacePrefaceIntroduction: Liyuanxi in the Family of Chinese TheatresQuanzhou and Hokkien Culture and IdentityOrigin of the Genre Name and Role of Marshal TianThree Tendencies of Liyuanxi1. Liyuanxi HistoryEarly History and Textual HeritageLiyuanxi in the Modern EraThe Troupe in SocietyDiasporic Liyuanxi2. Performance Foundations and StyleAesthetics and TechniqueStage MotionRole TypesLiyuanxi Speech, Music and ProsodyMake-up, Costumes, Stages3. RepertoireOverviewTraditional Romantic Play: Chen San and WuniangZhu Wen and the Lucky Coins: Traditional Ghost PlayTraditional Humorous Play: Zhu MaichenContemporary Tragic Play: The Chaste Woman’s LamentContemporary Humorous Play: Scholar Dong and Madam LiRevising for Gender: The Imperial SteleConclusionsEndnotesBibliographyIndex

Josh Stenberg is a lecturer in Chinese Studies at the School of Languages and Cultures in the University of Sydney, Australia. For the last fifteen years, he has worked for, on, and with xiqu (Chinese opera) companies and performers.

This is a very important book on a unique genre of Chinese opera that, I believe, will benefit students of world theater.

• List of IllustrationsAcknowledgmentsSeries PrefacePrefaceIntroduction: Liyuanxi in the Family of Chinese TheatresQuanzhou and Hokkien Culture and IdentityOrigin of the Genre Name and Role of Marshal TianThree Tendencies of Liyuanxi1. Liyuanxi HistoryEarly History and Textual HeritageLiyuanxi in the Modern EraThe Troupe in SocietyDiasporic Liyuanxi2. Performance Foundations and StyleAesthetics and TechniqueStage MotionRole TypesLiyuanxi Speech, Music and ProsodyMake-up, Costumes, Stages3. RepertoireOverviewTraditional Romantic Play: Chen San and WuniangZhu Wen and the Lucky Coins: Traditional Ghost PlayTraditional Humorous Play: Zhu MaichenContemporary Tragic Play: The Chaste Woman’s LamentContemporary Humorous Play: Scholar Dong and Madam LiRevising for Gender: The Imperial SteleConclusionsEndnotesBibliographyIndex