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喜歡看書嗎？也喜歡買書嗎？但是常常把書看完一遍就沒時間再看第二遍了。這種情況一定很常發生在你我身上，突然到了某一天，看到了

滿出來的書櫃，才覺得有那麼多的書籍都躺在那邊無人問津，真的是好可惜喔。想當初我可是花了一筆一筆的MOENY把它們買回家，重點是，還有

很多都是才剛出來的新書，也不便宜呢！想想感覺好像又有點浪費。 所以近幾年來，我買書的習慣變了，我喜歡上一個賣二手書的網路書店-TAZZE。

除了二手書的價格便宜了不少，重點是他還提供給我們賣二手書的平台，讓我的書櫃裡的書可以找到去處，也可以再回收一些錢回來。感覺也不錯。

最近我在找一本書， The Soul of Beijing Opera - Theatrical Creativity and Continuity in the Changing World ，習慣性在TAZZE找找看 The Soul of Beijing Opera - Theatrical Creativity and Continuity in the Changing World 有沒有賣，還真的給我找到了 The Soul of Beijing Opera - Theatrical Creativity and Continuity in the Changing World 。看起來滿新的，價格

也真的粉便宜。對 The Soul of Beijing Opera - Theatrical Creativity and Continuity in the Changing World 有興趣的朋友，也提供 The Soul of Beijing Opera - Theatrical Creativity and Continuity in the Changing World 的網頁給大家參考一下。

The Soul of Beijing Opera - Theatrical Creativity and Continuity in the Changing World





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Any traditional theatre has to engage the changing world to avoid becoming a living fossil. How has Beijing opera — a highly stylized theatre with breath-taking acrobatics and martial arts, fabulous costumes and striking makeup — survived into the new millennium while coping with a century of great upheavals and competition from new entertainment forms?

Li Ruru’s The Soul of Beijing Opera answers that question, looking at the evolution of singing and performance styles, make-up and costume, audience demands, as well as stage and street presentation modes amid tumultuous social and political changes. Li’s study follows a number of major artists’ careers in mainland China and Taiwan, drawing on extensive primary print sources as well as personal interviews with performers and their cultural peers. One chapter focuses on the illustrious career of Li’s own mother and how she adapted to changes in Communist ideology. In addition, she explores how performers as social beings have responded to conflicts between tradition and modernity, and between convention and innovation. Through performers’ negotiation and compromises, Beijing opera has undergone constant re-examination of its inner artistic logic and adjusted to the demands of the external world.

作者簡介：

Li Ruru is senior lecturer in the Department of East Asian Studies at the University of Leeds. She runs Chinese theatre workshops and is the author of Shashibiya: Staging Shakespeare in China and Translucent Jade: Li Yuru on Stage and in Life《晶瑩透亮的玉：李玉茹舞臺上下∕家庭內外》.









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