Shadow 1 warrior 6six 6six 6six
The disagreement between the characters is left to rash decisions, and not much anger or resentment building from it. The episode begs for a space paranoia story where the idea of self-destruction becomes their undoing, but unfortunately, does not dwell too deep into this. The episode struggles under its own weight in this regard, where the paranoia setting in is brief and left to scribbling into a notebook for a scene or two before snapping fully. The round doors opening and closing in circular motions, the clean, vibrant color scheme, and the flashy way the ship begins to fall apart near the solar flare are well done and visually exciting. Some shots and camera focus can add tension, like when Brandt is exercising, coming alarmingly close and back out of focus, over and over. The ending is a bit baffling, not only in its obtuse way of revealing if this is all a simulation or not, but in its completely out of left field manner.
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Raptors clinch first NBA championship in thrilling 114-110 victory over Warriors
English Pages [] Year Popular Religion and Shamanism addresses two areas of religion within Chinese society; the lay teachings that Chinese sc. In contemporary pop culture, the pursuits regarded as the most frivolous are typically understood to be more feminine in. We also acknowledge the financial support of the Government of Canada through the Book Publishing Industry Development Program bpidp for our publishing activities.
Includes bibliographical references and index. Shadow shows — China — History. Puppet plays, Chinese — History. Religion in drama — China — History. Women in popular culture — China — History. Chinese drama — Translations into English. Donna Albright, my college roommate, always lent a helping hand and edited my writing whenever she could. My family my mom, my siblings, Sen, Kao, Shi Pen, and my daughters, Kim and Ingrid and other friends, including my childhood friends of nacy, and my colleagues at suny-Albany, also showed enthusiasm for my work and saw me through some difficult years.
I could not have been able to locate and travel to all the distant rural localities in search of shadow theatre troupes without the assistance of numerous Chinese researchers, professors, and others friends. The enthusiastic performers of the fifteen shadow theatre troupes and numerous shadow puppet carvers I visited and videotaped deserve my deepest gratitude.
My thanks also go to the puppeteers and musicians of fifteen some troupes who performed for me, answered my questions, and sometimes invited me to their homes. I would also like to thank the Harvard Yenching library for a grant that enabled me to see its collection of Beijing shadow plays. This project enabled me to befriend some wonderful Chinese shadow theatre aficionados. Luise Thomae of Hamburg, Germany, made me feel like a relative when she accompanied me throughout Germany, in search of Chinese shadow playscripts and figures.
Mary Hirsch also became a friend through our mutual interest in playscripts and shadow figures. A Canadian sshrc Social Sciences and Humanities Research Council grant enabled me to take several research trips to China to garner both primary and secondary research materials for this book. To this award the project owes the breadth and depth it was able to attain. My daughters accompanied me on two of my research trips and helped with videotaping and photography.
This book is dedicated to my family and friends as a gesture of my sincere appreciation for their encouragement. Shadow figures and playscripts if used by the troupe are carried everywhere in such trunks. Contents of the above trunk. A performance using sunlight. The small truck used by his son to carry the trunks apparently failed to make it up a bridge and backed into the river.
Photograph by Ingrid Chen. Xiong, one of the last three remaining shadow masters in Sichuan, uses both old Qing dynasty figures and more recent ones made by himself. Here he holds one of his own. Most of the instruments represent objects associated with the Eight Immortals. The other members of the troupe are male.
Because of the religious nature of the genre, women were not allowed to perform shadow plays during the Qing dynasty. Photograph provided by Yang Fei, collector of the figures. Shaanxi is the only province where many professional shadow figure artists are making shadow figures for the tourist industry.
Already popular at least a thousand years ago, Chinese shadow theatre entertained the young and old, the wealthy and the poor, before the onslaught of television and all manner of electronic entertainment of our present age. As this work hopes to show, however, the drastically diminished need for the liturgical function that shadow theatre served may have been more detrimental to the shadows than hitherto acknowledged.
As troupes disband and old masters die, impassioned pleas for its study and preservation are being heard. According to Jiang Yuxiang, who travelled throughout China in search of shadow play troupes during the early s, more than 85 per cent of the troupes he visited were no longer in existence by the end of the s.
Shadow theatre provides a rare window on the mentality of the largest but least studied group of the Chinese population. Marginal forms of popular culture such as this provide an ideal site not only for demonstrating complexities in the evolution of the history of such fields but also for revealing aspects of popular culture not presented through the elite cultures.
While it was transmitted orally in some regions, semi-literate performers and scribes as well as scholarly elites have written playscripts for it. Indeed, the complex dynamics of diversity and differentiation created through space and time despite the basic unity and integration within the genre are a central concern in this study.
Part 1 undertakes to critique received interpretations of traditional popular culture through a scholarly study of shadow theatre. Chapter 1 is an introduction to the genre and the homogeneity of its various traditions throughout China. Chapter 2 sorts out the history of shadow theatre by weaving through old ideas to develop new ones, showing how misconceptions about this under-documented art form evolved, including the notion that it served mainly secular functions.
I have given more emphasis to the history of the Luanzhou Shadow tradition from which the main style in Beijing was derived than to other traditions, because more has been written about it. Although the Luanzhou Shadows are not the major Chinese shadow tradition, as claimed by Qin Zhen-an Chen-an Chin , they represent one of the most advanced traditions of the genre.
It is, however, based on faulty historical facts which this book hopes to remedy. Chapter 3 sets out to establish the liturgical roots of shadow theatre and the multifarious religious functions it served.
Jiang Yuxiang at the Museum of Sichuan University and Zhao Jianxin at Lanzhou University in Gansu have both written about the importance of popular religion in conjunction with Chinese shadow theatre.
In this chapter the opening ritual numbers of traditional shadow performances and human-actor operas are traced to shamanic liturgical rites and nuo drama. The various liturgical aspects An Introduction to Shadow Theatre 5 of different Chinese shadow traditions are revealed through a presentation of the customs and beliefs associated with them, and discussed according to the types of occasions for which they performed and the source of their funding, whether public or private.
By the Qing dynasty, three main types of shadow plays existed in terms of the religiousness of the content of the plays.
The most liturgical were the ritual playlets performed at the beginning of the shows when shadow figures representing deities arrived at the performance. Two types of main plays followed: sacred histories or religious plays aimed at proselytizing; and secular romantic, historical, and pseudo-historical tales.
The former may include episodes from Investiture of the Gods, a tour of Hell, or the conversion of Daoist immortals. Although this type of play seemed to have been very popular among many of the less developed traditions, by the end of the Qing dynasty the second type, shows of totally secular content, came to dominate the more advanced shadow traditions.
Despite the liturgical function of the performances, the assumption was that the gods enjoyed watching the same tales, whether sacred or secular, as the people who sponsored the plays. Hence, secular shadow plays were considered perfectly appropriate for religious occasions.
It is among the numerous anonymous martial plays of the pseudohistorical secular shadow plays so beloved by the illiterate masses that one finds a window on their mentality. Many distinctive features, such as the propensity for humour and violence, can be discerned in shadow plays, but especially pervasive are women warriors, particularly in secular martial plays not mentioned in chapter 3. Chapter 4 on women warriors in shadow theatre continues to employ this performing tradition to critique received interpretations and probe for evidence of other phenomena in Chinese popular culture.
An examination of the types of women warriors and the relationship between historical and fictional women warriors and that between those in military romances and shadow theatres reveals a surprising amount of insight into the mentality of the non-elite masses and the homogeneity of many aspects of popular culture. The continuities and discontinuities, unity and diversities here seem to be linked to the role of printed works of fiction and the dependence on oral propagation for the diffusion of popular culture.
One notes the overwhelming influence exerted upon popular culture by the many military romances in print and the various oral and performing arts. Many shadow plays also reflect the worldviews of members of lowerrank countercultures and minor streams of society such as ethnic peoples, independent tribes, bandits, rebels, and itinerant performers.
In this plebeian world, women warriors are ubiquitous and formidable; their power is admired and affirmed so long as they serve patriarchal causes. A detailed analysis of women warriors in this play allows for a close examination of the dynamics of such characters as well as their negotiations with ethnicity. Part 2 includes translations of three rare shadow plays selected to complement the main text, along with critical introductions. All are basically transcriptions of oral traditions. The former is an elaborate example of a set of ritual opening numbers typically performed before main plays.
The latter was one of the most popular plays during the end of the Qing. It was religious in nature but with such gory torture scenes that it was considered an exciting spectacle. Such religious playlets were traditionally performed from memory; consequently scripts are rare. Two such plays used to be performed during one night in Shanxi, where it was collected.
The script I used was dictated from memory to a researcher during the s. An Introduction to Shadow Theatre 7 As aids to future endeavours in this field, I also include as appendices lists of shadow play collections at various institutions and a list of unconventional characters I encountered in hand-copied playscripts.
A list of main plays found in different Chinese shadow traditions and one of shadow plays featuring female warriors are also provided as further evidence for themes discussed. Chinese shadow performances are more involved with liturgical rites than the shadow traditions of Europe, the Middle East, and North Africa, but less involved than those of India and Southeast Asia. Indeed, the disparate shadow traditions of the various regions of China share more characteristics among themselves than with any other traditions of the world.
Figures of almost all Chinese shadow traditions use coloured, translucent parchment. A Song dynasty source tells us that heavy paper was used before colourfully painted translucent sheep or goat parchment displaced it. Before a performance the heads to be used for the play are attached to appropriate bodies and hung on two lines perpendicular to the sides of the screen along the backstage area. The limbs and body of the individual figures are articulated.
A flexible central rod is attached to the collar of the shadow figure and two others to each of the hands. The shadow master manipulates these figures behind a paper or cloth screen illuminated by oil lamp or electrical lights, accompanied invariably by an orchestra. In some shadow theatres the shadow master does all the manipulation, singing, and dialogues; in others, one person would be in charge of manipulation, 8 History of Chinese Shadow Theatre possibly aided by an assistant, with an additional person or persons performing the vocal parts.
Also depending on the degree of sophistication, hand-copied scripts are used in some traditions while others rely solely on memory. By the Qing dynasty, Chinese shadow theatre was basically a type of Chinese opera, very similar to opera with human actors. Many of the role types,7 music, and musical instruments used8 demonstrate mutual influence. Considerably cheaper to hire than human-actor troupes, shadow theatre gained immense popularity for public religious festivities in poorer rural areas as well as for celebrations in private homes.
Indeed, shadow theatre has been used mainly for liturgical purposes from the Yuan dynasty through the Republican Era. As shows sponsored nominally for the delectation of deities whose blessings were sought, shadow shows invariably began with a liturgical playlet depicting the symbolic arrival of the deities.
As will be shown, the complexity of the rituals associated with these playlets also varied depending on space and time. A troupe traditionally consisted of between four and nine performers, with one or two trunks of shadow figures. Trunks typically contain numerous labelled folders of shadow figures of humans, supernatural beings, animals, and scenery. Since several heads may be used interchangeably on any specific body, the trunks invariably have many more heads than bodies.
All the human figures of a trunk tend to be of one size, although the size of the figures in different traditions may range from over a metre tall to barely thirty centimetres.
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MAJOR spoilers for the whole series! Read at your own risk. This lists cats and how they died. Sharptooth - former mountain lion killed by a falling boulder. Larchkit - former ThunderClan kit died of starvation. Dappletail - former ThunderClan elder killed by food poisoning. Hollykit - former ThunderClan kit died of starvation. Mudfur - former RiverClan medicine cat killed by an unknown illness. Smokepaw - former ShadowClan apprentice fell off a cliff and died.
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