Introduction
The creation of musical drama has become one of the significant emerging trends in China. Different cultural enterprises and art and literacy circles have placed so much hope and confidence in Chinese musicals in terms of their performance development and growth in the global music market. Even though Chinese music has tried its best to blossom in the international music industry, it has yet to be ascertained that it has seen spring. Whether it is from a big company such as Box Office or art awards, Music in China is still considered embarrassing. Musicals in China originally started during the late 19th century. Chinese musicals are deemed to have their roots in the British opera genre, where the endings are used to have a happy reunion to transmit an optimistic thought (Kaikkonen, 2013). Since then, Musical in China has experienced over 30 years in the hands of Chinese people (Schechner, 2017). However, these years are considered fewer than the years American and European people have experienced their musicals over a hundred years. This makes Chinese musical to be considered a youngster in the musical world.
Several things make Chinese musicals to be considered inefficient in experience. For instance, we can see their need for more musical expertise through how their manuscripts are written and directed and some of the results their production teams and actors give. When all these factors are compared to the level of musical production in mature dramas such as dance drama and Pekin opera, we see significant gaps in talent cultivation, concept creation, market operation, and talent selection (FangYi & Charoennit, 2022). The second factor that makes Chinese musicals considered young is the routine they use to form their music. These routines are “Broadway” textbook style and Weber imitation model, which are considered counterfeit, thus making Chinese musicals lack a national style.
Chinese people have long been experiencing several aspects, and one of them is the issue of diet. The diet structure for people in China is Different from the ones used by Western cultures, an aspect that has interfered with how drama is viewed in China. In the past, China never used to have big stages to showcase their musical shows and dramas as the Western cultures used to. Affording fare to become a musical actor or actress is not easy, especially because actors possess a low status (Zhou, 2019). Such a feeble foundation has made it difficult for innovations to be conducted, thus subjecting musicals to outdated patterns and incomplete training.
The Phantom of the Opera
“The Phantom of Opera” is a classic musical play that has significantly shaped musical plays and dramas worldwide. Andrew Lloyd Webber originally wrote this musical masterpiece. It was first played in London in West End stages during the late 1980s. After its presentation, it became widely renowned, surpassing the United Kingdom’s borders. This made it one of the most loved musicals of all time in the history of Broadway. The popularity of The Phantom of Opera made it a fascinating aspect of study in the musical world, specifically regarding musical development and globalization in China (Webber et al., 1987).
The Narrative in “The Phantom of Opera” talks about a disfigured and mysterious musician who is a musical genius and a good singer. The musician, whose name is Phantom, becomes entangled with a young and talented soprano named Christine Daae. The play’s setting revolves around the love for music, its power, and tales of love and obsession. Aside from the cultivating scores the musical has secured, the play’s success has also been attributed to the compelling storyline the musical showcases in its production design. As the musical keeps on attracting more and more audiences globally, its reception and the way it has adopted and stood out in different countries worldwide, including China, shows the existence of a complex interplay between musicals in China and Western theatrical. Adapting Western musicals to Chinese dramatic scenes allows us to analyze musical globalization on a broader trend.
Rebellato’s Perspective on Theater and Globalization
According to Rebellato, globalization has several meanings in politics, culture, money, and consciousness. He prefers only the term globalized economy while opting for cosmopolitanism when discussing politics and culture. The reason behind his decision is articulated as the variance in the forces attributed to the global increase of political and cultural occurrences. Rebellato explains how Karl Max’s analysis fits perfectly with how things are today regarding capitalism (Rebellato, 2006). He also provides examples of theatrical works that have challenged globalization and capitalism in the past decades.
Rebellato adds that McTheatre is an example of a theatre influenced by the world economy. Theatre, in its one-of-a-kind performance, is an exemplary paradigm of artisanship. The alternatives that Rebellato proposed to globalization were cosmopolitanism and localization. Localization is the creation of work within a community in a manner that has no meaning to the external audience. Between the two terms, Rebellato suggests that cosmopolitanism should be the term to be used globally due to its equality in terms of respecting human rights.
Rebellato’s book shows us how Theatre in itself can be a form of musical established under the fact that it can participate and replace the stories that other people have shared while at the same time enjoying the performance presented by other musical actors to the audience (Rebellato, 2006). He concludes his book by pointing out that the formal theatre mode should move towards cosmopolitanism and even provides examples of theatrical performances heading in this direction. Rebellato’s examination offers a deeper look into the dramatic world of production. He analyzes how globalization has affected theatrical plays and how they have altered with the artistic applications and audience engagement.
Incorporating Schechner’s Performance Theory into the Global Performance Context
Richard Schechner is a significant figure in the musical world revolution due to his contributions to academic theory and theatre production. For over half a century, he has consistently questioned traditional theatre perspectives, practices, and their musical performance and production modes. His perception of drama is that it is not only a stage feature but also a feature that needs to be seen in our daily lives (Schechner, 2003). Performance theory is founded on several aspects. These aspects include terms such as expressive culture, self-presentation, and restored behaviour. Schechner’s performance concept draws attention to art, postulating the significance of various systematic transformations that vary depending on the community or the society.
Performance theory also possesses a radical performance nature demonstrated by its holistic and all-encompassing approach to musical performance. When examining the methods that can be employed to put the theory into action, it is advisable to explore how it can be helpful for theatre practitioners and the strategies it uses in its application, including the concept of performativity (Adams, 2007). The performance theory put forward by Schechner sheds light on our understanding of globalization and its impact on musical performances. He challenges several theatrical notions by expanding the performance scope to include various social and cultural events.
In terms of global performance, the framework provided by Schechner encourages us to appraise how cultural rituals and practices play an essential role in contributing to international musical performances. Understanding Schechner’s theory of performance enables us to have a broader area to explore the different structures of performance and even move beyond exploring its features across national borders, thereby enriching the cultural tapestry of a community or society (Cutugno, 2013). Incorporating Schechner’s theory of performance in our analysis of musicals in China in a global context will help us capture the ethos of performance that goes beyond scripted Theatre.
Examination of Pierre Bourdieu’s Concept of Capital in the Cultural and Economic Context
Pierre Bourdieu was a public intellectual and French sociologist who brought about a significant change in sociology and theory. He is known for his concepts, and an example of a significant concept he is mainly known for is the concept of habitus, which has had a significant influence in the recent social sciences and post-modernist humanities. According to his idea of Capital, different capitals individuals possess and own can determine their position in the social stratification structure and affect their social behaviour patterns. According to Pierre Bourdieu’s concept, the three primary forms of Capital are cultural, social, and economic (Huang, 2019). Pierre Bourdieu’s capital concepts expand beyond the artistic realm and involve economic aspects. His approach to financial Capital helps his audience see the interrelationship that social structure and economic resources have with each other.
Cultural Capital and Its Influence on Musical Preferences in China
This method describes the cultural and social property that possesses the people. Some of these assets are education, good skills and knowledge. This idea is very relevant as it helps to shape a person’s music tastes. Kong (2023) conducted a study revealing that parental cultural Capital does not directly affect the musical choice between their son or daughter but instead calls for the need to acquire support from parents acting as mediators within cultivated intergenerational preferences of music types and genre.
The Roles of Economic Capital in the Production and also Consumption of Musicals in China
Economic Capital has a decisive role in the consumption and production of musicals in China. In particular, according to Shin Dong Kim’s research, the conjunction of musical development in China and Korea provided an intriguing case study on the success culture within these two industries (Chow, 2017). This combination proved that the two countries can offer international musicals.
Opera “Cheung Chau” and its Adaptation in the Shanghai Grand Theater
Opera Cheung Chau, or Zhou, is a traditional Chinese opera genre. This form of opera originated from Shangrao City in China in Jiangxi province. Its popularity comes from its one-of-a-kind style of acting and singing. Opera Cheung Chau is commonly performed during cultural events and regional festival activities. Shanghai Grand Theatre recently premiered An Opera Play, a step that showed growth and development in Chinese musicals (Jingyi et al., 2015). “March of the Volunteers” was the title of the opera play that was premiered. The play tells the tale of Nie Er and Tian Han, the real composers of China’s national anthem.
Impact of Opera “Cheung Chau” as a Local Adaptation
I hold an annual opera “Cheung Chau” festival on Hong Kong’s Cheung Chau Island. Its habit of being held yearly has made it one of the world’s most prominent festival attractions. It attracts people from different countries during the week it is held, a feature that gives it its significance in the island heritage. According to research, villagers within the area become very excited when the festival nears and celebrate it with patriotism when it comes (FangYi & Charoennit, 2022). They welcome people from around the world to come and celebrate with them. Aside from the economic benefits the festival brings to the people, it also acts as a symbolic element showcasing the traditional celebration of their culture.
Rebellato’s Perspective on Theater and Globalization
Insights into Rebellato’s theory have proven to contain a valuable framework we can use to understand the development of music in China. The insights he provides are significant because they can be used to explain the trends of Chinese music and the influence of cultural exchange in the development and evolution of musicals in China (Walsh, 2012). Applying Rebellato’s theory helps uncover the different ways cultural interaction helps shape an account, musical reception, and performance styles in the context of Chinese musicals. Its significance is instrumental in unveiling the sophisticated interrelations between the Chinese unique artistic expressions and the international influence of their vibrant musical on the global market.
Implications of Globalization on Musical Performances
Globalization has been shown to have a significant impact on musicals all over the world. In the early days, musicals used to be a local function, with every community having its type of music and development styles. Technological development has made musical performances more homogenized. Different types of musical performances from other parts of the world can now be accessed by anybody as long as they have working electronic devices such as radio, television, or a smartphone. This makes it possible for local musicals to interact with other musicals from different parts of the world, thus influencing their style of presentation (De Kloet, 2010). Aside from developing new musical styles, globalization has also led to the introduction of new musical styles and genres. Examples include soul music, hip-hop, and dancehall.
Analyzing the Role of Chinese Musical Performance in Global Contexts
Schechner’s performance theory plays a crucial role in the musical world. It provides us with a comprehensive analysis of the different responsibilities of a musical performance worldwide. Schechner’s theory of performance helps us see the prevalent effect of transformative elements on various social and cultural aspects. However, the theory is rooted in the perception that a performance should go beyond a traditional theatrical setting. Regarding global performance, Schechner’s theory helps us see the significance of understanding how different cultures contribute to sharing performance styles and stages. The theory also helps us understand how music in China has evolved and some of the reasons that make it hard for most musicals in China to reach a global scale. Schechner examines the interrelationship that different cultures have with each other and the benefits they sow from each other. He does this by examining several musical aspects, such as the performance and the theatrical production.
Musical Theatre in China
For many years, the desire for exploration has made humans find ways to interact with other people from different parts of the world and cultures. The ages between the fourteenth and seventeenth centuries are the ages that human interaction started. Many discoveries were made during this time, including interaction through global trade, international relations, and cultures, among others. Performing arts are an essential factor in the musical theatres of China. However, the concepts used in these musicals need features such as musical theatre audiences and research in cross-cultural applications (De Kloet, 2010). Research recently conducted on Chinese audiences showed that their post-performance experiences on musical production showcased by Americans and the United Kingdom could have been more apparent to them mainly because most were unfamiliar with the local culture.
Musical Theatre across different cultures
Examining theatrical adaptations of Chinese music in different cultural settings is essential because it provides us with insights into how we can unravel the complex aspects of various musical shows and performances. The process of adopting theatrical performances in China needs to catch up, making it difficult for their musicals to integrate with global aspects. Their musical is seen to showcase nuanced performances in different theatrical fields, whether be it in performance adjustment or narrative reinterpretation.
The exchange of musical Theatre, especially between the Chinese and the Western people, showcased both challenges and opportunities. With no global recognition, the Chinese market will likely experience limited theatrical music performance and production opportunities. Additionally, they may provide enticing marketing strategies and even attract an audience. However, the problem may arise regarding their understanding of musical Theatre and the shows being performed (De Kloet, 2010). Chinese people like Western music and shows. However, it is usually easier for them to understand the shows if they incorporate some things they experience in real life. Additionally, including art forms in Musical Theatre is significant in helping them relate to the performances.
Bourdieu’s Capital and its Influence on the Reception of Musicals
Cultural Capital, as we have seen, refers to the knowledge one gains due to factors like education and socialization. However, Bourdieu refers to it as a form of power that individuals can use to differentiate themselves from others or for social status purposes (Neveu, 2018). Cultural Capital can impact people’s engagement in Chinese music in several ways, such as by making their musical ideas more engaging and changing their perception of musical performances. For instance, individuals with low cultural Capital may not appreciate it because they do not know much about it. On the other hand, the ones with high cultural Capital may understand it because they know what it entails. The theory put forward by Bourdieu explains how class structures are reproduced together with other additional cultural capital processes and their manifestation in a person’s lifestyle. However, other researchers have argued that the reception of art and lifestyle is independent of funding an individual with cultural Capital.
Economic Capital in the Production and Promotion of Musicals in China
Economic Capital plays an essential part in musical production and promotion in China. However, artists face several challenges to excel in the musical world. One of these challenges is the high production cost associated with music production in China, which makes it hard for many artists to showcase their musical shows. For example, the cost of the musical output in areas like Belin and London is half what people charge to produce and promote musicals in China.
This high cost of musical production has, in turn, resulted in a shift in the national demand for music to other demands, such as video game production and online gaming. Another factor that makes it hard for music in China to excel is old-fashioned market operators with outdated management methods. They lack market awareness, and their management style is considered a workshop style” that lacks management and large-scale operation (Kim, 2015). The third factor that influences the growth of music in China is their habit of employing incomplete training modes. China experiences a need for more professional musical actors, making it difficult for them to showcase professional talent on stage. Their insufficiency of professional musical actors can be seen in areas like script writing and arrangement of actors. The lack of and the limited number of schools that teach professional musicals in China is one of the significant attributes of the scarcity of professional musical actors.
Application of Critical Methods to Analyze Globalization of Musicals in China
Musicals in China are a significant aspect of their culture. Over the years, as it was developing, several other musical genres also developed from it. Chinese musicals started experiencing modernization after the disintegration of imperial China. This was seen through the formation of orchestras by Chinese musicians, the formation of standard” repertories of Chinese music, and the reformation of their traditional instruments (Lu, 2021). Additionally, after some Chinese artists started performing abroad stages, many more followed with the hope of either getting more stages to achieve their musicals or getting opportunities to enrol in musical schools to advance their musical careers. This paved the way for cultural interaction and sharing between Chinese musicals and other cultures in different parts of the world. The use of native instruments alongside Western instruments to perform musical plays and dramas is an example of the ways Chinese musicals interact with other musicals.
The interaction of Western musical produce with Chinese produce has also helped shape the modernization of their culture by improving their production aspects and exposing them to new forms and methods of production. An excellent example of where we see Chinese musicals interacting with Western cultures is in the Shanghai Grand Theatre (Lu, 2021). The Theatre serves as an exemplar of the sociology concept. It is considered the modern hub of Shanghai in premiering diverse musical performances such as classical music, ballet, and drama. Even though the Theatre is in the middle of the Chinese People’s Square, we can see how it has embraced modern musicals and how the Chinese people are adopting to listening to such musicals.
Factors Affecting the Globalization of Musicals in China
Several cultural factors affect the shaping of music and music preferences in China. One of the factors is the emergence of middle-class people. Middle-class people in China have been shown to have high purchasing power desires for high-end cultural activities. Their unique taste and preference in music affect the type of music they listen to and the musical events they attend. The positive push that the government has imposed on the usage of cultural facilities to represent state image has also resulted in the growth of Chinese musical consumption both locally and internationally.
In terms of economic factors, several affect music production and consumption in China. One of the factors is the issue of the rising middle-class Chinese people. Middle-class people in China have been shown to possess disposable income. This, in turn, has made them develop a high purchasing power. Additionally, the high disposable income has been used to construct modern structures such as the Grand Theatre, where people can showcase their musical talents or watch performances. Economic factors that have helped shape the musical industry in China include the government of China itself. The government has helped grow Chinese musicals by providing funds to be invested in the Chinese music industry. Musical performances in China have also shown a significant improvement in capital generation. For instance, the capital musical performance in China generated in 2019 was over 600 million yuan, almost triple the amount they had made in 2017 (Kong, 2023).
The original musicians for overseas music playback in the Chinese market are Nigerian and Western pop music. However, a deeper look at other music playbacks in China will require evaluating multifaceted aspects such as the currently evolving musical dynamics and consumer changes in taste and preferences (Guthrie, 2012). Human Datamony is the concept that emphasizes the recognition of specific musicians or actors in China. For instance, artists such as Rihanna, Taylor Swift, and BTS are artists whose music resonated with the Chinese people. The star effect, on the other hand, affects the popularity of Chinese music overseas. It is responsible for determining both the market dynamics and audience preferences. It is characterized by the increased number of appeals created due to two different artists collaborating on a musical.
Conclusion
In conclusion, this paper shows us how the development of musicals in China has been in a global context from the past decade to date. Some key findings in the paper include how music in China was in the past, how it has developed over the years, and the current music industry in China. The paper has also provided an analysis of Phantom of Opera. This classical music play significantly changed the musical world and its role in shaping musicals in China. The paper analyzes Rebellato’s perspective on Theatre and globalization in Performing Arts Globalization. It provides insights into how theatrical performances in China can be improved to move towards cosmopolitanism. It incorporates Schechner’s performance theory and the approaches that can be applied to help provide a deeper look at the theoretical world of production.
An examination of Pierre Bourdieu’s concept of Capital has shown us how Capital determines the position of an individual in the social stratification structure, the influence that cultural Capital can have on musical preferences, and its role in music consumption and production. Looking at “Cheung Chau,” a Chinese Opera, the paper enables us to see the intermingling of different cultures and the likely outlook of the results. The opera allows us to see the festival’s impact on Chinese musicals regarding growth, development, diversification, and culture preservation (Chow, 2017). Looking at the paper’s theoretical framework, we can see how Rebellato’s perspective on Theatre and globalization can be applied to help revive Chinese music and some of the implications of musical globalization. Analyzing the role of Chinese musical performance provides us with insights into the different responsibilities of a musical performance worldwide. Schechner’s theory here sheds light on the importance of understanding how different contribute to the sharing of performances and styles stages. Theatrical adaptation in different cultures discussed in the paper helps us see how Chinese music can evolve to adapt to any newly introduced culture.
Cultural Capital’s impact on the growth and development of Chinese musicals has caused the audience’s engagement in several ways, such as improving their musical ideas to make them more engaging. Despite all the positive aspects of Chinese musicals we have seen, there are several drawbacks to their musical development. One good example is the high cost of musical production in China, which makes it hard for artists to record and perform their musicals. The critical methods in the paper provide a comparative analysis of music in China and its interaction with other cultures worldwide, such as Western cultures. The analysis in this paper reflects on the role of globalization in Chinese musicals, the interrelationship between the adaptation of Chinese cultural musicals, and the Western influence on theatrical performances.
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