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The Eternal Present of the Past: Illustration, Theater, and Reading in the Wanli Period, 1573–1619 (review)

The Eternal Present of the Past: Illustration, Theater, and Reading in the Wanli Period,... 176 Book Reviews mance. Bonds also explains various kinds of crowns, helmets, hats, and caps, showing that these convey the specifi c social status of each character. The fi nal chapter, “Dressing Techniques and Costume Plots,” surveys the work of dressers, including their training, responsibilities, and the dress- ing process. Traditionally, there was no professional designer of new costumes for each production in a jingju troupe. Instead dressers and actors worked together to create the visual image of characters by using conventionalized costumes. As the author perceptively indicates, “The repertoire of traditional Jingju costumes is the result of hundreds of anonymous people [. . .], each making small decisions that shape the image onstage” (265). Impressively, the author compares two different costume plots for The Phoenix Returns to Its Nest, presented by the Beijing Jingu Company and the National Jingju Com- pany respectively. Through her pictorial comparison, readers can perceive the dressing conventions of jingju and their variations as well. To sum up, this in depth book systematically explores the world of jingju costumes, including historical, aesthetic, and technical aspects. Obvi- ously, the book is not limited to the costumes alone; it expands on many aspects of Chinese culture http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

The Eternal Present of the Past: Illustration, Theater, and Reading in the Wanli Period, 1573–1619 (review)

Evans, Megan.
Asian Theatre Journal , Volume 26 (1) – Apr 1, 2009
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Publisher
University of Hawai'I Press
Copyright
Copyright © 2009 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

176 Book Reviews mance. Bonds also explains various kinds of crowns, helmets, hats, and caps, showing that these convey the specifi c social status of each character. The fi nal chapter, “Dressing Techniques and Costume Plots,” surveys the work of dressers, including their training, responsibilities, and the dress- ing process. Traditionally, there was no professional designer of new costumes for each production in a jingju troupe. Instead dressers and actors worked together to create the visual image of characters by using conventionalized costumes. As the author perceptively indicates, “The repertoire of traditional Jingju costumes is the result of hundreds of anonymous people [. . .], each making small decisions that shape the image onstage” (265). Impressively, the author compares two different costume plots for The Phoenix Returns to Its Nest, presented by the Beijing Jingu Company and the National Jingju Com- pany respectively. Through her pictorial comparison, readers can perceive the dressing conventions of jingju and their variations as well. To sum up, this in depth book systematically explores the world of jingju costumes, including historical, aesthetic, and technical aspects. Obvi- ously, the book is not limited to the costumes alone; it expands on many aspects of Chinese culture

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Apr 1, 2009

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