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Three MANSIONS OF UNEVEN RHYME

Beijing Courtyards and the Instant City
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Painting the City Red
Ein Kapitel aus dem Buch Painting the City Red
THREEMansions of Uneven RhymeBeijing Courtyards and the Instant Citymr. zhang was visibly moved as he pointed out to me the exact placewhere Longxugou (Dragon Whisker Creek) had run until it was cov-ered in the early 1950s. He had grown up here and seen the dramatictransformation of the creek from a dirty ditch to a symbol of the newBeijing. In this particular location, where the public toilets stood now,it took little e√ort to imagine the filthy creek and its stench. Now, as aretired man, Zhang lived in the newly built Jinyuchi (Goldfish Ponds)compound, on the former grounds of Longxugou. He was proud tohave witnessed as a child the celebrated Longxugou public worksproject, immortalized in the play and film Dragon Whisker Creek.Zhang was more ambivalent about the present reconstruction of theneighborhood, even though it too was being glorified onstage.The Jinyuchi construction project imparts a sense of déjà vu. Whenthe play Goldfish Ponds was staged in 2001, it was hailed as the sequel toDragon Whisker Creek. Like Lao She’s play, it depicts the transformationof a residential district from a nearly uninhabitable slum to a modernhousing compound. Jinyuchi, which largely overlaps Longxugou, waschosen as dramatic material for its resonance with the earlier piece.Both Dragon Whisker Creek and Goldfish Ponds stand for key changes inurban policy—in the case of the latter play, the policy of bringingtogether housing reform and market economy. Like Dragon WhiskerCreek, the construction was accompanied by a closely monitored the-atrical production by the Beijing People’s Art Theater (bpat). The laterpolicy change gave rise, in fact, to two plays—bpat replaced GoldfishPonds with another version, deemed more representative—A MyriadLights (2002). For the production of Dragon Whisker Creek the statemobilized Lao She, a writer famous for describing Beijing’s common
© 2020 Duke University Press, Durham, USA

THREEMansions of Uneven RhymeBeijing Courtyards and the Instant Citymr. zhang was visibly moved as he pointed out to me the exact placewhere Longxugou (Dragon Whisker Creek) had run until it was cov-ered in the early 1950s. He had grown up here and seen the dramatictransformation of the creek from a dirty ditch to a symbol of the newBeijing. In this particular location, where the public toilets stood now,it took little e√ort to imagine the filthy creek and its stench. Now, as aretired man, Zhang lived in the newly built Jinyuchi (Goldfish Ponds)compound, on the former grounds of Longxugou. He was proud tohave witnessed as a child the celebrated Longxugou public worksproject, immortalized in the play and film Dragon Whisker Creek.Zhang was more ambivalent about the present reconstruction of theneighborhood, even though it too was being glorified onstage.The Jinyuchi construction project imparts a sense of déjà vu. Whenthe play Goldfish Ponds was staged in 2001, it was hailed as the sequel toDragon Whisker Creek. Like Lao She’s play, it depicts the transformationof a residential district from a nearly uninhabitable slum to a modernhousing compound. Jinyuchi, which largely overlaps Longxugou, waschosen as dramatic material for its resonance with the earlier piece.Both Dragon Whisker Creek and Goldfish Ponds stand for key changes inurban policy—in the case of the latter play, the policy of bringingtogether housing reform and market economy. Like Dragon WhiskerCreek, the construction was accompanied by a closely monitored the-atrical production by the Beijing People’s Art Theater (bpat). The laterpolicy change gave rise, in fact, to two plays—bpat replaced GoldfishPonds with another version, deemed more representative—A MyriadLights (2002). For the production of Dragon Whisker Creek the statemobilized Lao She, a writer famous for describing Beijing’s common
© 2020 Duke University Press, Durham, USA

Kapitel in diesem Buch

  1. Frontmatter i
  2. CONTENTS vii
  3. List of Illustrations ix
  4. Acknowledgments xi
  5. Introduction FILM AND THE URBAN CONTRACT 1
  6. One NEW CHINA, NEW BEIJING 27
  7. Two A BIG DYEING VAT 56
  8. Three MANSIONS OF UNEVEN RHYME 95
  9. Four THE FIRST PRECINCT UNDER HEAVEN 151
  10. Five ANGEL SANCTUARIES 187
  11. Six‘‘THIS IS THE STORY OF OUR STREET’’ 224
  12. Seven THE DAY TRIP OF YOUR DREAMS 281
  13. Notes 311
  14. Filmography 341
  15. Stage Plays 351
  16. Bibliography 353
  17. Index 383
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https://doi.org/10.1515/9780822392750-006

Kapitel in diesem Buch

  1. Frontmatter i
  2. CONTENTS vii
  3. List of Illustrations ix
  4. Acknowledgments xi
  5. Introduction FILM AND THE URBAN CONTRACT 1
  6. One NEW CHINA, NEW BEIJING 27
  7. Two A BIG DYEING VAT 56
  8. Three MANSIONS OF UNEVEN RHYME 95
  9. Four THE FIRST PRECINCT UNDER HEAVEN 151
  10. Five ANGEL SANCTUARIES 187
  11. Six‘‘THIS IS THE STORY OF OUR STREET’’ 224
  12. Seven THE DAY TRIP OF YOUR DREAMS 281
  13. Notes 311
  14. Filmography 341
  15. Stage Plays 351
  16. Bibliography 353
  17. Index 383
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Heruntergeladen am 24.9.2025 von https://www.degruyterbrill.com/document/doi/10.1515/9780822392750-006/html?lang=de&srsltid=AfmBOopzExikhIJfltmRIyFJaQw5KlL4vLz9_HeOqdHFABiz_jvkfrJL
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