The crisis of xiqu in taiwan and its local cultural response

The mainstream xiqu styles in Taiwan are jingju and gezaixi. The authorities in Taiwan attached great importance to jingju, and once named jinju the national drama (guoju) due to its past glories in the early twentieth century and its traditional performing characteristics. After the TV stations started broadcasting, the situation of xiqu turned from bad to worse. Jingju, the once popular entertainment, was forced to become a classical art. Gezaixi dealt with the new media much better than jingju did. During the 1980s, The new practice of jingju sourced from the sense of crisis of the young actors. By virtue of their hard-working, the image of jingju had changed. The year 1992 was a very important year in the history of xiqu in Taiwan. Xiqu troupes from China were allowed to visit Taiwan. In the 1990s, the major motivation for Taiwan's jingju to develop was the xiqu experiences from China. Meanwhile, the high tide of “Taiwanese Identity”� let people started to use their own voices to tell their own stories, and naturally gezaixi dug out a treasure of Taiwanese stories that were never seen on stage before. In the twenty-first century, the GuoGuang Opera Company successfully united the power of the playwrights and the directors. It’s representative work is The Golden Cangue (2006). The production caused a lively discussion in the xiqu circles in both China and Taiwan. The “Taiwan Experience”� of jingju provided a possible response to the xiqu crisis.