INTRODUCTION (with Appendix) 1
CHAPTER I : A Brief Historical Survey of Xiqu
CHAPTER II : The Tao of Chinese Aesthetics
CHAPTER III : Confucianism and Stylization
CHAPTER IV : Traditional Education and Training for the Classical Theatre
CHAPTER V : Xiqu “Reform”, and Further Exploration of Chinese Traditional Aesthetics
CONCLUSION
BIBLIOGRAPHY
LISTING OF VIDEO MATERIALS

ABSTRACT
In my thesis, I discuss the fundamental aesthetic philosophy underlying the traditions of Chinese Classical Theatre. I use the term “Chinese Classical Theatre” when referring particularly to Kunqu and Jingju (Peking Opera), since these two particular genres and their artistic values most clearly represent the characteristics of Chinese TraditionalTheatre or Xiqu as a classical dramatic system. The term “Chinese Traditional Theatre” or Xiqu is used in a wider and more generic sense, to include all the many varieties of traditional and regional theatre.
In the first chapter, I look at the broad historical development of Xiqu, from its original sources to its supreme expression – Kunqu and Jingju. In the second, the focus is on the essence of Taoism, which is the starting point of Chinese traditional aesthetics. Taoism and Buddhism have given Chinese artists total freedom from all limitations; and have inspired them to seek a truth beyond appearance.
The third chapter concentrates on Confucianism, its contribution to ancient art education, and its influence on Xiqu stylization, in particular the art of different role-types and the function of percussive music.
The fundamental concept of general education and the method of Xiqu training will be explored in the fourth chapter. I examine the Keban 科班 － the old system according to which Xiqu actors were trained; and use video materials to illustrate the modern Chinese institutions for training in the Classical Theatre.
In the fifth and last chapter, through the analysis of two less than successful examples, I explore, at a deeper level, the core of Chinese traditional aesthetics and how that core can be lost or preserved in the process of reform.

Local access dig.pdf. [Tang-Classical theatre.pdf]

Introduction -- PART I: In the ancient world -- 1. Above all with the Greek alphabet -- 2. In Chinese characters -- 3. In the Sanskrit of sacred Indian texts.-4. Not only in Arabic -- 5. Above all in the Latin alphabet -- Appendices.

PART II: In the world of the scientific revolution -- 6. Not only in Latin, but also in Dutch, Chinese, Italian and German -- 7. Beyond Latin, French, English, German, Italian and Flemish: the invention of symbolism -- 8. Between Latin, French, English and German: the language of transcendence -- 9. Between Latin and French -- 10. From French to German -- PART III: It is not even heard -- 11. In the language of the Venusians -- 12. Come on, Apophis -- Bibliography -- Index of names and works.

Local access dig pdf. [Tonietti-And Yet Heard v.1-2.pdf]

The first Chinese music heard in Europe: instruments and musicians in the study of Chinese music in Europe during the long 18th century / Ahlstedt Åberg, Måns

Early music, 2025-08, Vol.53 (3)

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