Free Essay Sample - Xiangsheng

Xiangsheng is a remarkable oral performance among the Chinese people ascertained to have a direct translation of "cross-talk." However, the splendid rendition of the talk was recorded in the Chinese cultural archive as "routines of voice as well as face" (Moser 10). Consequently, the sumptuous translation relating to voice and the face prompted by the phenomenon of singing and utilization of gestures in the process of demonstration of the xiangsheng cultural performance. In the process of execution of the art of xiangsheng, two performers of an invariably male gender tell jokes. The jokes relating to xiangsheng art include anecdotes in a humorous nature, imitating prominent Chinese figures, singing songs, and engaging in the recitation of impeccable tongue twisters, among other sumptuous cultural practices (Moser 10).

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Consequently, in the event of a demonstration of xiangsheng cultural practice paramount among the Chinese people, a considerable number of predefined dialogues can take place in the pursuit of pleasing the audience. Similarly, in the course of demonstration of the art, all the involved characters possess unique mandated roles that distinguish them from the rest of the performers given the fact that each performer correctly identified by the role played in a particular performance (Dilworth 25). In the undertaking relating to roles allocation of the parts to the performers of xiangsheng, a specified formula of the familiar splendidly to the audience residing in West utilized to a large extent. Besides, performers' roles consist of two aspects: the joker cracker and the joker setter. The joker cracker is effectively referred to as "dougende" and deemed a jokester in a verbose form. Also, the joke setter in the xiangsheng art impeccably referred to as the "penggende" evaluated to be a reactor (Dilworth 25). Moreover, the reactor has a significant role in expressing outrage as well as befuddlement ascertained to be in an illogic nature, according to the stage clowns.

The history related to the xiangsheng art of performance is remarkably long and portraying crucial Chinese roots of the theatrical form of the Tang Dynasty, which splendidly referred to as "canjunxi" meaning play in an adjutant nature. However, the xiangsheng Chinese performed also deemed to have a new quality of its performance, which correlates to the end of the Qing Dynasty in the year1861, which followed an official mourning period resulting from the death of the Chinese well known public figure Emperor Xianfeng (Moser 33). During the mourning period of emperor Xianfeng, all the musical performances and the plays banned, leading to the concert relating to opera performances losing its impact in Chinese society. Despite having an unfortunate effect, the opera performers composed remarkable hoc arts to earn a living, which later constituted the xiangsheng practice of Chinese art performance (Moser 33).

The Chinese radio has emphasized on the regular broadcast of the xiangsheng pieces of performance daily to ensure a sumptuous continuity of the Chinese culture. Similarly, a significant number of Chinese TV shows have also adequately elucidated the phenomenon for demonstration related to the Chinese culture, thus leading to its preservation (Dilworth 54). Consequently, in an attempt to facilitate an appreciation of the Chinese culture, passenger trains operating in China have taken significant initiatives of playing pieces associated with the xiangsheng art of performance and presenting records of live performance tapes to the passenger audience. Furthermore, a well-diversified mode of sale related to the xiangsheng records has been established in China, leading to equitable access of xiangsheng cultural performance pieces. Moreover, the genre of the xiangsheng culture has a large audience base ranging from the peasants in the countryside residents of China to the major urban areas of the country (Dilworth 54). Besides, a renowned Chinese figure, Mao Zedong, claimed to be a great fan of the art of xiangsheng and portrayed remarkable commitments to promote the widespread nature of China's cultural performance by sensitizing individuals towards the immediate environment of the xiangsheng cultural recognition as well as appreciation.

Furthermore, xiangsheng is remarkably referred to as the self-referential Chinese art of performance due to the widespread nature of cultural production. In the process of performance associated with xiangsheng artistic elucidation, the first topic of discussion by the performers is the essence of xiangsheng itself (Moser 60). In the explanation of xiangsheng by the art performers, the historical origins related to the cultural practice are portrayed remarkably, leading to the enumeration of various stages of development related to the culture. For instance, in the performance of "guyi," described as an impeccable aspect of xiangsheng, a splendid manner of reflexivity is divulged to a large extent by the statement of various elements involved in the performance process (Moser 60). Moreover, after completing the process of illustrating the cultural background of xiangsheng art, the performer commences the process of elucidating the culture's nitty-gritty.

Works Cited

Dilworth, D. A. "The problem of theoretical self-reflexivity in Peirce and Santayana." Overheard in Seville: Bulletin of the Santayana Society, vol. 8, no. 8, 1990, pp. 1-9, doi:10.5840/1990881.

Moser, D. "Reflexivity in the humor ofXiangsheng." CHINOPERL, vol. 15, no. 1, 1990, pp. 45-68, doi:10.1179/chi.1990.15.1.45.