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Change of Hakka Opera: Ethnicity and Creation in Hakka Musical and Hakka TV Drama

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Translocal Performance in Asian Theatre and Film

Abstract

This chapter explores My Daughter’s Wedding (the first Hakka musical, an adaptation from Shakespeare’s The Taming of the Shrew) and The Ninth Sister of Yang (an original Hakka Drama, performed by Sin-Yong-Guang Troupe, played on Hakka TV) in Taipei. Hakka opera develops to become Hakka musical and Hakka TV drama to reflect the translocal culture promulgated by government’s local cultural policy via media. I focus on the issue of marriage anxiety in the roles of Liu, Li-Chun (Katherina in Shakespeare’s play, played by Hsu, Yan-Ling) and Chung, Yo-Chia (Petruchio in Shakespeare’s play, played by Huang, Shi-Wei) in My Daughter’s Wedding and adaptation in The Ninth Sister of Yang to argue how Hakka opera is shifting from tradition to new processes of creation.

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Notes

  1. 1.

    Source from Hakka Culture Park in Maoli, Taiwan.

  2. 2.

    Hakka community used to live in big round buildings in the nineteenth century in China, to be united together, to resist the enemy, and to help each other as one big family.

  3. 3.

    See Michael Kantor and Laurence Maslon. Broadway: The American Musical. New York: Applause, 2010.

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Authors and Affiliations

  1. National Chiao Tung University, Jhubei City, Hsinchu, Taiwan

    Iris H. Tuan

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  1. Iris H. Tuan
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Tuan, I.H. (2018). Change of Hakka Opera: Ethnicity and Creation in Hakka Musical and Hakka TV Drama. In: Translocal Performance in Asian Theatre and Film. Palgrave Pivot, Singapore. https://doi.org/10.1007/978-981-10-8609-0_6

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