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sanzida aktar
Jul 17, 2022
In Christianity Forum
In newspapers, magazines, social networks, and even people's word of mouth, Taiwan has been jokingly dubbed the "ghost island" from time to time. Although it is harsh, this title is placed in the context of Taiwanese musicals, and it is more appropriate - the original road of Taiwanese musicals has been counted from the first local production " Chess King " (1987), and it has been 30 years since then. more than a year. But until now, we still do not have a dedicated venue, nor do we have a clear government support policy like China, Japan, and South Korea to cultivate Taiwan's musical theatre industry. In such a dark age for the musical theater industry, the creative teams of the new and old generations mostly scrutinize creations with bare photo background removing hands, making a living by their own abilities. Of course, this article is not to forcefully condemn the government's indifference (in fact, in recent years, units such as the Taipei Performing Arts Center and the New Taipei Arts and Culture Center have successively planned talent training and music festivals) or complained about the sinister environment. What I want to talk about is: What kind of special landscape has this real proposition of the big environment shaped Taiwan's original musicals? How have musicals in recent years developed new possibilities amid various constraints? From around the 1990s when Taiwanese musicals started, the development process of Taiwanese original musicals can be divided into ten years. In the first 20 years, Taiwan was roughly in the stage of exploration and self-positioning. During the 1990s, representative troupes such as the Green Light Theater and Gotuo Theater pioneered their territory. Most of the techniques and themes were imitated from Western works. Expand the market with popular plays. The most well-known work at that time was "Kiss Me Nana" by singer Zhang Yusheng. This work has been reproduced in recent years, and its far-reaching influence is evident. After the millennium, special musical troupes were established one after another. During this period, Taiwanese, Hakka and other dialect musical
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