Development of poster designs for the popularization of Beijing opera

Abstract

In modern society, due to the development of modern science and technology, people are more and more inclined to love electronic products, and they are more and more inclined to read e-books, and they are discouraged from traditional physical book sets. People's choice of books is also more inclined to fantasy novels and other types, but there is no great interest in traditional culture books. Neoliberalism as it emerged from the West, has been localised when it entered China along with the global market. In the 2010s, a series of neoliberal policies under the mass entrepreneurship and mass innovation (MEMI) initiative were launched to support an entrepreneurial environment for Chinese theatres. To understand how the state applied neoliberalism with Chinese characteristics to Chinese (applied) theatre via the practice of MEMI policies, this paper acknowledges Althusser’s theories of ideological state apparatuses (ISAs) and interpellation to demonstrate the construction of the ideological relationship between Chinese theatre artists and China’s government. [] The purpose of this design is to spread the culture of Peking Opera in the form of books, so that more people can understand and appreciate its charm. First of all, inheritance is to protect the purity and integrity of Peking Opera and ensure that its artistic essence and historical value are not forgotten or distorted. We should continue the traditional skills, performance forms and artistic styles of Peking Opera through inheritance, so that future generations can appreciate its unique charm. The development is to make Beijing Opera keep pace with The Times and adapt to the needs and aesthetic changes of modern society. On the basis of maintaining the essence of the traditional Peking Opera, we should continue to innovate and develop it, so that it will glow more brilliant in the new era. The purpose of the inheritance and development of Peking Opera is to enable this cultural heritage to be passed on and innovated, and to make it shine more brightly in modern society in a way that young people are happy to hear. In early twentieth-century China, the term New Woman was introduced in intellectual discourses both as a solution to the perception of national weakness and as a gendered symbol of modern pursuit. The New Woman in real life took on a look peculiar to her locality while sharing some qualities. This paper will examine the Beijing New Women with a concentration on their leisure-time activities such as skating, appreciating Beijing opera, hosting salons, and shopping on donkey-back. The author points out that what characterized these women’s pleasurable pastimes was their combination of tradition and modernity, which they achieved by imbuing Beijing’s historical legacies with modern elements and adapting Western models to the city’s conditions. Not only did their activities transcend entrenched gender boundaries and demonstrate their agency but also went beyond self-recreation and turned out to be instrumental in sustaining the city’s modern enterprises through the hard times of 1928–1937.[]