Podcasts about madame mao

Two young women walk into a theatre in China in 1935 and so begins a relationship that spans a turbulent period of history and ends with the death of one of them. Hannah chats to playwright and historian Amy Ng about her latest play, Shanghai Dolls, about finding the women behind the legends of Sun Weishi and Madame Mao, and about how we could all probably do with brushing up on our Chinese history. More information and tickets here: https://kilntheatre.com/whats-on/shanghai-dolls/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Alex Garland's latest film Warfare, which is co-directed by US military veteran Ray Mendoza turns back the clock back nearly twenty years to reconstruct a real-life surveillance mission in Iraq. Film critic Tim Robey and journalist Zing Tsjeng give their verdict on the analysis of the theatre of war, which unfolds in real time. They've also been to see Shanghai Dolls at London's Kiln Theatre - which spans six decades of Chinese history, focusing on the life of an actress who was to personify the terrifying face of the cultural revolution, Madame Mao. Literary critic Boyd Tonkin reflects on the legacy of Nobel prize-winning Peruvian writer Mario Vargas Llosa who has died at the age of 89. Samira and her guests have also been reading Katie Kitamura's new book Audition, about an actress who agrees to have dinner with a young man who seems fixated on her, and includes a 'sliding doors' alternative reality. And as the actress Cate Blanchett announces her intention to retire, Radio 4 listeners have a chance to hear her star in her first major radio drama The Fever, in which she plays a privileged woman who travels to a war-torn country and reflects on her comfortable life amidst the poverty of others. Presenter: Samira Ahmed Producer: Paula McGrath

Quando dico che tutte le crush, maschi e femmine, amano essere sedotte, intendo proprio tutte, compreso Mao Tse-Tung. Oggi ti racconterò di come un'attrice di umili origini riuscì a conquistarsi il dittatore più letale del 900 (numeri alla mano). Il suo nome era Jiang Qing, meglio conosciuta come Madame Mao.See omnystudio.com/listener for privacy information.

Grace Davidson was a teenager when she was diagnosed with a rare condition that meant she did not have a uterus. But, following a transplant using her sister's donated womb, she gave birth earlier this year to baby Amy. Nuala McGovern speaks to to Isabel Quiroga, the surgeon who led the transplant team at the Churchill Hospital in Oxford, and to Lydia Brain, who is currently on the waiting list for a womb transplant.A recent study into synthetic hair, which many black women use to achieve popular hair styles including braids, found that ten samples of the most well-used brands contained carcinogens, and in some cases, lead. It's provoked a big reaction online. Nuala McGovern is joined by academic and author of Don't Touch My Hair, Emma Dabiri, and also by BBC Correspondent Chelsea Coates.New play Shanghai Dolls explores the relationship between two of the most influential women in Chinese history during the cultural revolution; Jiang Qing (also known as Madame Mao – one of the architects of the Cultural Revolution) and Sun Weishi, China's first female director. Amy Ng the playwright and Gabby Wong who plays Madame Mao join Nuala in the Woman's Hour Studio.Set in a quiet 1950s seaside town in a boarding house full of strange characters, Jess Kidd's new novel Murder at Gull's Nest is the first in a new series of books. Jess talks to Nuala about the heroine of the series, the fearless former nun Nora Breen, who has left behind her enclosed order of nuns after 30 years to solve crimes.Presenter: Nuala McGovern Producer: Laura Northedge

From The Wizard of Oz to Madame Mao, Kirsty Sinclair Dootson's essay explores the politics of making films in colour - specifically Technicolor - a process synonymous with American cinema that was the envy of political powers across Russia, Germany and China. The story takes us from Hollywood to Auschwitz to Instagram.Dr Kirsty Sinclair Dootson is a New Generation Thinker on the scheme run by the Arts and Humanities Research Council and the BBC to put academic research on radio. She is a lecturer in Film and Media at University College London, and author of a book The Rainbow's Gravity.Producer: Rabeka Nurmahomed

Send us a textAs Shanghai Dolls prepares to open at the Kiln Theatre, Gabby Wong sat down with us to talk about Amy Ng's new show that depicts the friendship turned rivalry between Sun Weishi and Jiang Qing, later Madame Mao. At a time where we are seeing more Asian representation on stage and screen, and with China continuing to make a strong presence in the news, we were treated to a fascinating conversation about modern Chinese history and what this period tells us about China today. The new play which opens at the Kiln Theatre presents us with an often untold history viewed through a female lens.In this brand new interview with Gabby Wong, we hear her talk about the process of discovering Jiang Qing's journey into becoming Madame Mao . Gabby also tells us about the experience working with Katie Posner on developing the character in rehearsals, and the challenges of doing a two-hander which sees her reunited with Millicent Wong who plays Sun Weishi. During the course of our conversation, we hear Gabby talk about how the industry has changed for Asian actors and how opportunities have widened in recent years. Jiang Qing / Madame Mao will also be the first time we see Gabby Wong play a historical Chinese character on stage and we hear her reflect on her career which has seen her take on Shakespeare, contemporary drama and work on screen too. It's a fascinating discussion and we look forward to seeing Shanghai Dolls when it opens at the Kiln Theatre this Spring.Shanghai Dolls runs at Kiln Theatre from 3rd April - 10th May with tickets on sale now.Support the show

Redes Sociales: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠   ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠   ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter (X)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

O episódio 10, com que encerramos estas Amigas de Eleanor, faz-se à sombra do mal: da fascinante Lucrécia Bórgia à maquiavélica Madame Mao; da infame Unity Mitford à despótica Elena Ceausescu, juntamos um rol de vilanias para fechar com chave de ouro. E fel. Saber mais: Pontapé de Saída: Bloopers As Amigas de Eleanor https://www.youtube.com/watch?v=S-4gRekCnRc Lucrezia Borgia Paul Strathern, «The Borgias, Power and Fortune», Atlantic Books, Londres, 2019. Imagem 1: https://premium-art.shop/products/rape-of-lucretia-tarquin-and-lucretia/ Imagem 2: https://www.nationalgeographic.com/history/history-magazine/article/lucrezia-borgia-renaissance-italy-scandal-intrigue Imagem 3: https://upload.wikimedia.org/wikipedia/commons/7/78/Lucrezia-Borgia.jpg Madame Mao «Mao - A História Desconhecida», Jung Chang e Jon Hallyday, edição Quetzal BBC News Brasil: https://www.bbc.com/portuguese/geral-57880458 Encyclopaedia Britannica: https://www.britannica.com/biography/Jiang-Qing The New York Times (1991): https://www.nytimes.com/1991/06/05/obituaries/suicide-of-jiang-qing-mao-s-widow-is-reported.html Imagem 1: http://b20.photo.store.qq.com/http_imgload.cgi?/rurl4_b=3eb41dd7e5c27abdea45067d2e5870fdf25167c44c61dac70b5c75fe1814fd7a77618b7bcbfea9954e6d05c90aa9916d4e6fe1f17c04da5ce2e8f4fb4fce6dd6b5e805c4e52fd2b0de2fe2b4fc92aa917e54caf7, Domínio público, https://commons.wikimedia.org/w/index.php?curid=13353619 Imagem2: https://en.wikipedia.org/wiki/Gang_of_Four#/media/File:Gang_of_Four_at_trial.jpg Imagem 3: https://insidestory.org.au/the-silence-that-makes-sense-of-modern-china/ Unity Valkyrie Mitford Jonathan Guinness (com Catherine Guinness), «The House of Mitford», Phoenix, 2004. Imagem 1: By Unknown author - http://i.telegraph.co.uk/multimedia/archive/03051/mitford-family_3051013k.jpg, Public Domain, https://commons.wikimedia.org/w/index.php?curid=65679751 Imagem 2: https://www.bbc.com/news/uk-england-39304317 Tim Bouverie, «Appeasing Hitler, Chamberlain, Hitler and the Road to War», The Bodley Head, Londres, 2019. Elena Ceausescu Kiss the Hand You Cannot Bite: The Rise and Fall of the Ceausescus, Edward Behr, edição Villard Encyclopaedia Britannica: https://www.britannica.com/biography/Nicolae-Ceausescu#ref133682 The Guardian: https://www.theguardian.com/world/2021/dec/22/a-moral-issue-to-correct-the-long-tail-of-elena-ceausescus-fraudulent-scientific-work Imagem 1: https://pt.wikipedia.org/wiki/Elena_Ceau%C8%99escu e Por not credited - Fototeca online a comunismului românesc, Photo no. #E595,, Attribution, https://commons.wikimedia.org/w/index.php?curid=5881251 Imagem 2: https://www.gettyimages.com.br/fotos/elena-ceausescu Imagem 3: https://pt.m.wikipedia.org/wiki/Ficheiro:Ceausescu_-_Queen_Elisabeth_II_-_1978.jpg Sugestão de leitura extra: Annabele Hirsch, «Uma História das Mulheres em 101 Objectos», Planeta, Lisboa, 2024.

Madame Mao was one of the most powerful women in modern Chinese history. But she left behind a trail of many thousands of graves. As one of the Gang of Four, her violence and acts of revenge had no limits. In hindsight, her ruthlessness propelled her to power and   downfall.Support the show: https://www.aljazeera.com/podcasts/hindsight/

Madame Mao fue la cuarta y última esposa de Mao Tse Dung y ella misma se consideró la perra furiosa y rabiosa del régimen. Pasó a la historia con ese nombre porque ella misma complicó llamarla de otra forma, cambió varias veces de nombre. Nació en 1914 en una familia pobre, su padre era un alcohólico golpeador y su madre débil y sumisa. Creció trabajando en plantaciones de tabaco hasta que pudo escapar y llegó a la capital de China donde conoció y se apasionó del cine y el teatro. Soñaba con ser una estrella del espectáculo. El poder de Madame Mao llegó mucho más allá de lo artístico, se hizo la líder que movilizaba las bases revolucionarias e influía en las decisiones de estado. La pareja presidencial gozaba de un poder absoluto sobre la cuarta parte de la población mundial. Madame Mao fue tan sanguinaria que el mismo ejército nacional tuvo que detener las masacres de los radicales movilizados por ella. Ya sin su grupo armado, su influencia fue decayendo hasta que en 1976 murió el presidente Mao. Un mes después, fue arrestada y acusada de muchos delitos, entre ellos el uso excesivo de violencia, incluso la apodaron el demonio de huesos blancos. Primero fue condenada a muerte, en su defensa dijo que ella solo había sido la perra de Mao, recibía órdenes, atacaba y mordía. Su condena fue cambiada y recibió una sentencia de cadena perpetua. Años después se le permitió salir de la cárcel para tratarse un cáncer de garganta. Ella no era un perro, era una perra. Ella ladraba y mordía.

With her book Hollywood in China: Behind the Scenes of the World's Largest Movie Market (New Press, 2022), media scholar Ying Zhu explores the 100+ year relationship between what are now the world's two largest movie markets: China and the United States.  Zhu is a Professor at Hong Kong Baptist University's Academy of Film, and the founder/chief editor of Global Storytelling: Journal of Digital and Moving Images. Hollywood in China (July 2022, The New Press) is her fourth book, and it offers a comprehensive chronology of the Hollywood-China relationship, with numerous specific case studies.  In this podcast, Anthony Kao chats with Zhu about the book, and delves into matters like reactions to "China-humiliation films" during the 1911-1949 Republican Era, Madame Mao's penchant for Hollywood classics, and what the future might hold for relations between China and Hollywood.  Some movie recommendations from Ying Zhu (learn more by listening until the end of this episode): From the 1990s: Zhang Yimou's To Live and Tian Zhuangzhuang's Blue Kite (discussed more in one of Ying's earlier books) From the 2000s: Li Yang's Blind Shaft (analyzed in one of Ying's articles) From the 2010s: Feng Xiaogang's I Am Not Madame Bovary (explored in Hollywood in China) Anthony Kao is a writer who intersects international affairs and cultural criticism. He founded/edits Cinema Escapist—a publication exploring the sociopolitical context behind global film and television—and also writes for outlets like The Guardian, The Diplomat, and Eater. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

With her book Hollywood in China: Behind the Scenes of the World's Largest Movie Market (New Press, 2022), media scholar Ying Zhu explores the 100+ year relationship between what are now the world's two largest movie markets: China and the United States.  Zhu is a Professor at Hong Kong Baptist University's Academy of Film, and the founder/chief editor of Global Storytelling: Journal of Digital and Moving Images. Hollywood in China (July 2022, The New Press) is her fourth book, and it offers a comprehensive chronology of the Hollywood-China relationship, with numerous specific case studies.  In this podcast, Anthony Kao chats with Zhu about the book, and delves into matters like reactions to "China-humiliation films" during the 1911-1949 Republican Era, Madame Mao's penchant for Hollywood classics, and what the future might hold for relations between China and Hollywood.  Some movie recommendations from Ying Zhu (learn more by listening until the end of this episode): From the 1990s: Zhang Yimou's To Live and Tian Zhuangzhuang's Blue Kite (discussed more in one of Ying's earlier books) From the 2000s: Li Yang's Blind Shaft (analyzed in one of Ying's articles) From the 2010s: Feng Xiaogang's I Am Not Madame Bovary (explored in Hollywood in China) Anthony Kao is a writer who intersects international affairs and cultural criticism. He founded/edits Cinema Escapist—a publication exploring the sociopolitical context behind global film and television—and also writes for outlets like The Guardian, The Diplomat, and Eater. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

With her book Hollywood in China: Behind the Scenes of the World's Largest Movie Market (New Press, 2022), media scholar Ying Zhu explores the 100+ year relationship between what are now the world's two largest movie markets: China and the United States.  Zhu is a Professor at Hong Kong Baptist University's Academy of Film, and the founder/chief editor of Global Storytelling: Journal of Digital and Moving Images. Hollywood in China (July 2022, The New Press) is her fourth book, and it offers a comprehensive chronology of the Hollywood-China relationship, with numerous specific case studies.  In this podcast, Anthony Kao chats with Zhu about the book, and delves into matters like reactions to "China-humiliation films" during the 1911-1949 Republican Era, Madame Mao's penchant for Hollywood classics, and what the future might hold for relations between China and Hollywood.  Some movie recommendations from Ying Zhu (learn more by listening until the end of this episode): From the 1990s: Zhang Yimou's To Live and Tian Zhuangzhuang's Blue Kite (discussed more in one of Ying's earlier books) From the 2000s: Li Yang's Blind Shaft (analyzed in one of Ying's articles) From the 2010s: Feng Xiaogang's I Am Not Madame Bovary (explored in Hollywood in China) Anthony Kao is a writer who intersects international affairs and cultural criticism. He founded/edits Cinema Escapist—a publication exploring the sociopolitical context behind global film and television—and also writes for outlets like The Guardian, The Diplomat, and Eater. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

With her book Hollywood in China: Behind the Scenes of the World's Largest Movie Market (New Press, 2022), media scholar Ying Zhu explores the 100+ year relationship between what are now the world's two largest movie markets: China and the United States.  Zhu is a Professor at Hong Kong Baptist University's Academy of Film, and the founder/chief editor of Global Storytelling: Journal of Digital and Moving Images. Hollywood in China (July 2022, The New Press) is her fourth book, and it offers a comprehensive chronology of the Hollywood-China relationship, with numerous specific case studies.  In this podcast, Anthony Kao chats with Zhu about the book, and delves into matters like reactions to "China-humiliation films" during the 1911-1949 Republican Era, Madame Mao's penchant for Hollywood classics, and what the future might hold for relations between China and Hollywood.  Some movie recommendations from Ying Zhu (learn more by listening until the end of this episode): From the 1990s: Zhang Yimou's To Live and Tian Zhuangzhuang's Blue Kite (discussed more in one of Ying's earlier books) From the 2000s: Li Yang's Blind Shaft (analyzed in one of Ying's articles) From the 2010s: Feng Xiaogang's I Am Not Madame Bovary (explored in Hollywood in China) Anthony Kao is a writer who intersects international affairs and cultural criticism. He founded/edits Cinema Escapist—a publication exploring the sociopolitical context behind global film and television—and also writes for outlets like The Guardian, The Diplomat, and Eater. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

With her book Hollywood in China: Behind the Scenes of the World's Largest Movie Market (New Press, 2022), media scholar Ying Zhu explores the 100+ year relationship between what are now the world's two largest movie markets: China and the United States.  Zhu is a Professor at Hong Kong Baptist University's Academy of Film, and the founder/chief editor of Global Storytelling: Journal of Digital and Moving Images. Hollywood in China (July 2022, The New Press) is her fourth book, and it offers a comprehensive chronology of the Hollywood-China relationship, with numerous specific case studies.  In this podcast, Anthony Kao chats with Zhu about the book, and delves into matters like reactions to "China-humiliation films" during the 1911-1949 Republican Era, Madame Mao's penchant for Hollywood classics, and what the future might hold for relations between China and Hollywood.  Some movie recommendations from Ying Zhu (learn more by listening until the end of this episode): From the 1990s: Zhang Yimou's To Live and Tian Zhuangzhuang's Blue Kite (discussed more in one of Ying's earlier books) From the 2000s: Li Yang's Blind Shaft (analyzed in one of Ying's articles) From the 2010s: Feng Xiaogang's I Am Not Madame Bovary (explored in Hollywood in China) Anthony Kao is a writer who intersects international affairs and cultural criticism. He founded/edits Cinema Escapist—a publication exploring the sociopolitical context behind global film and television—and also writes for outlets like The Guardian, The Diplomat, and Eater. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

With her book Hollywood in China: Behind the Scenes of the World's Largest Movie Market (New Press, 2022), media scholar Ying Zhu explores the 100+ year relationship between what are now the world's two largest movie markets: China and the United States.  Zhu is a Professor at Hong Kong Baptist University's Academy of Film, and the founder/chief editor of Global Storytelling: Journal of Digital and Moving Images. Hollywood in China (July 2022, The New Press) is her fourth book, and it offers a comprehensive chronology of the Hollywood-China relationship, with numerous specific case studies.  In this podcast, Anthony Kao chats with Zhu about the book, and delves into matters like reactions to "China-humiliation films" during the 1911-1949 Republican Era, Madame Mao's penchant for Hollywood classics, and what the future might hold for relations between China and Hollywood.  Some movie recommendations from Ying Zhu (learn more by listening until the end of this episode): From the 1990s: Zhang Yimou's To Live and Tian Zhuangzhuang's Blue Kite (discussed more in one of Ying's earlier books) From the 2000s: Li Yang's Blind Shaft (analyzed in one of Ying's articles) From the 2010s: Feng Xiaogang's I Am Not Madame Bovary (explored in Hollywood in China) Anthony Kao is a writer who intersects international affairs and cultural criticism. He founded/edits Cinema Escapist—a publication exploring the sociopolitical context behind global film and television—and also writes for outlets like The Guardian, The Diplomat, and Eater. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In 1973, Western music was banned in the People's Republic of China. But in a remarkable breakthrough cultural exchange, the Philadelphia Orchestra conducted a tour of closed-off China, becoming the first American orchestra to visit the communist nation. Jennifer Lin's "Beethoven in Beijing: Stories from the Philadelphia Orchestra's Historic Journey to China" provides a fabulous photo-rich oral history of this boundary-breaking series of concerts the orchestra performed under famed conductor Eugene Ormandy. Lin draws from interviews, personal diaries, and news accounts to give voice to the American and Chinese musicians, diplomats, journalists, and others who participated in and witnessed this historic event. "Beethoven in Beijing" is filled with glorious images as well as anecdotes ranging from amusing sidewalk Frisbee sessions and acupuncture treatments for sore musicians to a tense encounter involving Madame Mao dictating which symphony was to be played at a concert. A companion volume to the film of the same name, "Beethoven in Beijing" shows how this 1973 tour came at the dawn of a resurgence of interest in classical music in China—now a vital source of revenue for touring orchestras. Jennifer Lin is an award-winning journalist, author, and documentary filmmaker. She created and codirected the feature-length documentary Beethoven in Beijing, which premiered on PBS's Great Performances in 2021. For 31 years, she worked at the Philadelphia Inquirer as a reporter, including posts as a foreign correspondent in China, a financial correspondent on Wall Street, and a national correspondent in Washington, DC. She is the author of "Shanghai Faithful: Betrayal and Forgiveness in a Chinese Christian Family," and coauthor of "Sole Sisters: Stories of Women and Running."

Synopsis On today's date in the year 2000, at the University of Richmond in Virginia, the Shanghai Quartet premiered the String Quartet No.4 by composer Bright Sheng. Sheng was born in Shanghai in 1955, but since the 80s he's made the United States his home and has earned an enviable reputation as both a composer and teacher. But back in the late 1960s, during the tumultuous years of Madame Mao's “Cultural Revolution,” Sheng worked as a pianist and percussionist in a Chinese folk music and dance troupe near the Tibetan border. Sheng's String Quartet No. 4 is subtitled “Silent Temple.” He explains that title as follows: “In the early 1970s I visited an abandoned Buddhist temple in north-west China. As all religious activities were completely forbidden at the time, the temple, still renowned among the Buddhist community all over the world, was unattended and on the brink of turning into a ruin… In spite of the appalling condition of the temple, it was still a grandiose and magnificent structure … I could almost hear the praying and chanting of the monks, as well as the violence committed to the temple and the monks by the Red Guards.” Music Played in Today's Program Bright Sheng (b. 1955) — String Quartet No. 4 (Silent Temple) (Shanghai Quartet) BIS 1138

Synopsis Today's date marks the premiere of two works written by émigré composers: one Austrian, the other Chinese. On Nov 4th, 1948, the Albuquerque Civic Symphony gave the first performance of Arnold Schoenberg's powerful piece for narrator, chorus and orchestra entitled “A Survivor from Warsaw.”  Schoenberg had met some survivors of the Nazi pogroms in the Warsaw ghetto. He was profoundly moved as they recounted their harrowing experiences, so Schoenberg set their recollections to music, utilizing a twelve-tone theme which is revealed only at the end of the work, where it supplies the traditional melody of a Jewish prayer of comfort and hope. On today's date in 1993, Boulder, Colorado, was the venue for the premiere of the String Quartet No. 3 by the Chinese composer Bright Sheng. “It was inspired by the memory of a Tibetan folk dance which I came across about 25 years ago when I was living in a province on the border between China and Tibet,” recalled Sheng. At that time, Madame Mao's “Cultural Revolution” was in full force, and that explains why a teenage pianist from Shanghai ended up on a remote Chinese frontier. Eventually, Sheng was able to enroll in the Shanghai Conservatory, and in 1982 came to New York. Music Played in Today's Program Arnold Schoenberg (1874 – 1951) — A Survivor from Warsaw (Simon Callow, narrator; London Symphony; Robert Craft, cond) Koch 7263 Bright Sheng (b. 1955) — String Quartet No. 3 (Shanghai Quartet) BIS 1138

E se figuras históricas ou da cultura pop tivessem ido à Hogwarts? A qual casa elas pertenceriam? Essa é a proposta do Café Seletor. No 157º episódio selecionamos Jiang Qing, conhecida no ocidente como MADAME MAO. O Café Seletor possui um sistema de financiamento coletivo, se curte nosso trabalho nos apoie em https://apoia.se/cafeseletor Fale conosco: twitter: @CafeSeletor Instagram: @cafeseletor Twitch: twitch.tv/cafeseletor Email: cafeseletor@gmail.com link Amazon: https://amzn.to/3vOjiLY Nossas patronas são: Lady Marques de Souza Gleizy Gomes Elizabeth Rosendo Santos Larissa Cardoso Julio Leote Mariangela Juliano Viriato Cristiane Viriato Ana Luiza de Jesus Alves Fernando SGR Angela Raquel Marina Katia Cilene

On this episode of Feudal Future,  hosts Joel Kotkin and Marshall Toplansky are joined by Ross Terrill, China specialist and Associate in Research at Harvard's Fairbank center for Chinese Studies. The panel takes a deep dive into the history of China and the future of the republic.Ross Terrill, a China specialist and Associate in Research at Harvard's Fairbank Center for Chinese Studies, is the author of nine books. Raised in rural Australia, he graduated in history and political science from the University of Melbourne in 1962 and served in the Australian Army. He took a PH.D. in political science at Harvard in 1970, where his thesis on the philosophy of R. H. Tawney was awarded the Sumner Prize and was later published by Harvard University Press as Socialism As Fellowship.While teaching at Harvard on political thought, Chinese politics, and international affairs, he wrote 800,000,000: The Real China, The Future of China: After Mao, Flowers on an Iron Tree: Five Cities of China, and the original edition of Mao. A decade a contributing editor of The Atlantic Monthly he won the National Magazine Award for Reporting Excellence and the George Polk Memorial Award for Outstanding Magazine Reporting for writings on China. In 1979 he became an American citizen.He is a many-time contributor to the New York Times (Op-Ed, Book Review, Week in Review, Travel Section) and other newspapers, including Newsday, Chicago Tribune, Los Angeles Times, Miami Herald, and Washington Post. He has written 19 articles in Atlantic Monthly, and many in Foreign Affairs, New Republic, National Geographic, World Monitor and other magazines. Over recent years his books include The White Boned Demon: A Biography of Madame Mao and The Australians.Join us for our FREE online event September 1st at 9am PST: THE WORLD AFTER COVID. The event will feature Richard Florida, the world's premier urban expert, who will discuss the global future with leading experts from US, Europe, Africa and Asia. Florida, author of The Creative Class and the New Urban Crisis, will be followed by Joel Kotkin, Presidential Fellow in urban futures at Chapman;  Behki Mahlobo, analyst and economic researcher at the Center of Risk Analysis in Johannesburg; Li Sun, expert of Chinese cities and professor at University of Leeds; and Laure Mandeville-Tostain, senior reporter for Le Figaro in Paris.For more information click here: www.chapman.edu/asktheexpertsTo register for the event click here:https://chapman.zoom.us/webinar/register/WN_YoPejpTPRhuOpNs14ctoIAJoin the 'Beyond Feudalism' Facebook group to share your story, ask questions and connect with other citizen leaders: https://www.facebook.com/groups/beyon...Tweet thoughts: @joelkotkin, @mtoplansky, #FeudalFuture #BeyondFeudalismLearn more about Joel's book 'The Coming of Neo-Feudalism': https://amzn.to/3a1VV87Sign Up For News & Alerts: http://joelkotkin.com/#subscribeThis show is presented by the Chapman Center for Demographics and Policy, which focuses on research and analysis of global, national and regional demographic trends and explores policies that might produce favorable demographic results over time.

“I try to preserve the Chinese music flavor. So, you imagine in Chinese band, the country music that people usually reserve for weddings or for big moments or for funerals. That kind of a feeling. Drums and music playing. I try to preserve it from my memory because what we have now is just a tune. You can probably recognize the tune, but the execution of translating that for a Western orchestra and make it sound like it's a Chinese band playing Chinese instruments.”Bright Sheng is a composer, conductor, and pianist. His work has been commissioned and performed by many prestigious institutions throughout the world, including Carnegie Hall, Lincoln Center, Kennedy Center, St. Petersburg Philharmonic, Hong Kong Philharmonic, and special commissions from the White House and for the 2008 Beijing Olympic Games. Sheng has collaborated with many distinguished artists, including Leonard Bernstein, Yo-Yo Ma, David Henry Hwang, Christoph Eschenbach, and many others.· www.brightsheng.com · www.creativeprocess.infoPhoto: Santa Fe performance of Madame Mao

“I try to preserve the Chinese music flavor. So, you imagine in Chinese band, the country music that people usually reserve for weddings or for big moments or for funerals. That kind of a feeling. Drums and music playing. I try to preserve it from my memory because what we have now is just a tune. You can probably recognize the tune, but the execution of translating that for a Western orchestra and make it sound like it's a Chinese band playing Chinese instruments.”Bright Sheng is a composer, conductor, and pianist. His work has been commissioned and performed by many prestigious institutions throughout the world, including Carnegie Hall, Lincoln Center, Kennedy Center, St. Petersburg Philharmonic, Hong Kong Philharmonic, and special commissions from the White House and for the 2008 Beijing Olympic Games. Sheng has collaborated with many distinguished artists, including Leonard Bernstein, Yo-Yo Ma, David Henry Hwang, Christoph Eschenbach, and many others.· www.brightsheng.com · www.creativeprocess.infoPhoto: Santa Fe performance of Madame Mao

“I try to preserve the Chinese music flavor. So, you imagine in Chinese band, the country music that people usually reserve for weddings or for big moments or for funerals. That kind of a feeling. Drums and music playing. I try to preserve it from my memory because what we have now is just a tune. You can probably recognize the tune, but the execution of translating that for a Western orchestra and make it sound like it's a Chinese band playing Chinese instruments.”Bright Sheng is a composer, conductor, and pianist. His work has been commissioned and performed by many prestigious institutions throughout the world, including Carnegie Hall, Lincoln Center, Kennedy Center, St. Petersburg Philharmonic, Hong Kong Philharmonic, and special commissions from the White House and for the 2008 Beijing Olympic Games. Sheng has collaborated with many distinguished artists, including Leonard Bernstein, Yo-Yo Ma, David Henry Hwang, Christoph Eschenbach, and many others.· www.brightsheng.com · www.creativeprocess.infoPhoto: Santa Fe performance of Madame Mao

“I try to preserve the Chinese music flavor. So, you imagine in Chinese band, the country music that people usually reserve for weddings or for big moments or for funerals. That kind of a feeling. Drums and music playing. I try to preserve it from my memory because what we have now is just a tune. You can probably recognize the tune, but the execution of translating that for a Western orchestra and make it sound like it's a Chinese band playing Chinese instruments.”Bright Sheng is a composer, conductor, and pianist. His work has been commissioned and performed by many prestigious institutions throughout the world, including Carnegie Hall, Lincoln Center, Kennedy Center, St. Petersburg Philharmonic, Hong Kong Philharmonic, and special commissions from the White House and for the 2008 Beijing Olympic Games. Sheng has collaborated with many distinguished artists, including Leonard Bernstein, Yo-Yo Ma, David Henry Hwang, Christoph Eschenbach, and many others.· www.brightsheng.com · www.creativeprocess.infoPhoto: Santa Fe performance of Madame Mao

“I try to preserve the Chinese music flavor. So, you imagine in Chinese band, the country music that people usually reserve for weddings or for big moments or for funerals. That kind of a feeling. Drums and music playing. I try to preserve it from my memory because what we have now is just a tune. You can probably recognize the tune, but the execution of translating that for a Western orchestra and make it sound like it's a Chinese band playing Chinese instruments.”Bright Sheng is a composer, conductor, and pianist. His work has been commissioned and performed by many prestigious institutions throughout the world, including Carnegie Hall, Lincoln Center, Kennedy Center, St. Petersburg Philharmonic, Hong Kong Philharmonic, and special commissions from the White House and for the 2008 Beijing Olympic Games. Sheng has collaborated with many distinguished artists, including Leonard Bernstein, Yo-Yo Ma, David Henry Hwang, Christoph Eschenbach, and many others.· www.brightsheng.com · www.creativeprocess.infoPhoto: Santa Fe performance of Madame Mao

“I try to preserve the Chinese music flavor. So, you imagine in Chinese band, the country music that people usually reserve for weddings or for big moments or for funerals. That kind of a feeling. Drums and music playing. I try to preserve it from my memory because what we have now is just a tune. You can probably recognize the tune, but the execution of translating that for a Western orchestra and make it sound like it's a Chinese band playing Chinese instruments.”Bright Sheng is a composer, conductor, and pianist. His work has been commissioned and performed by many prestigious institutions throughout the world, including Carnegie Hall, Lincoln Center, Kennedy Center, St. Petersburg Philharmonic, Hong Kong Philharmonic, and special commissions from the White House and for the 2008 Beijing Olympic Games. Sheng has collaborated with many distinguished artists, including Leonard Bernstein, Yo-Yo Ma, David Henry Hwang, Christoph Eschenbach, and many others.· www.brightsheng.com · www.creativeprocess.infoPhoto: Santa Fe performance of Madame Mao

Als Kind wurde Jiang Qing von ihrem Vater verprügelt und von Schulkameraden gemobbt. Dann der Aufstieg: Mit gut 20 Jahren war sie eine gefeierte Schauspielerin, mit 40 Madame Mao, die "First Lady" Chinas. Zehn Jahre später war sie die mächtigste Frau des Landes. Als Mitglied der berüchtigten "Viererbande" sorgte sie für Angst und Schrecken. (BR 2016)

More than anyone except Mao Zedong himself, Jiang Qing — Mao's wife — represented the violence and extremism of the Cultural Revolution.Read the article by James Carter: https://supchina.com/2021/05/19/the-death-of-jiang-qing-a-k-a-madame-mao/Narrated by Kaiser Kuo.

Als Kind wurde Jiang Qing von ihrem Vater verprügelt und von Schulkameraden gemobbt. Mit Anfang 50 sorgte sie als Maos letzte Ehefrau und Mitglied der berüchtigten "Viererbande" für Angst und Schrecken. Autorin: Isabella Arcucci

Jiang Quing, Madame Mao o “cómo una actriz de cine termina controlando la cultura de un país y matando mucha gente en el proceso”. Actriz tapa de revistas, guerrillera, orientadora cultural suprema y exterminadora de oponentes políticos, Madame Mao es … Sigue leyendo →

The 2015 Season is a great opera season for strong female roles. Donna Anna in Don Giovanni, Musetta in La boheme, and Madame Mao in Nixon in China all fit that description: strong characters, bold music! Dr. Nic spends a little time with these three women in today's podcast.

Als Kind wurde Jiang Qing von ihrem Vater verprügelt und von Schulkameraden gemobbt. Mit Anfang 50 sorgte sie als Maos letzte Ehefrau und Mitglied der berüchtigten "Viererbande" für Angst und Schrecken. (BR 2014)

The Chinese communist leader Mao Zedong died on 9 September 1976. Among those jockeying for power after his death, was his widow Jiang Qing. American, Sidney Rittenberg, remembers her rise and fall. (Photo: Jiang Qing (right) alongside Mao Zedong in 1967. Credit AFP/Getty Images)

Brendan, Richard and Nathan bring Season 2 to a triumphant close with The Space Museum, The Chase and The Time Meddler. And we like them all. No, really.

In 1969 at the height of the Chinese Cultural Revolution the Yellow River Piano Concerto, commissioned by Madame Mao, received its highly politicised premiere. Despite being banned from Chinese musical life in 1976 it has slowly filtered back into the musical mainstream in a country with a huge affinity with the piano today. To say that 30 million Chinese school children are learning to play the instrument is a conservative estimate: some say the figure is as high as 90 million. For the Chinese the piano has become a potent symbol of the importance of hard work and dedication, as well as the perfect instrument for the one-child family system.

Jiang Qing 江青 (1914-1991) worked as an actress, traveled to the communist base area in Yan'an, married Mao Zedong, suffered an odd isolation, but rose to prominence during China's cultural revolution. In 1976, Jiang was arrested by her husband's successors and, after a 1980 televised show trial, was sentenced to death -- with a two year reprieve. Her sentence was commuted to life and she was eventually placed under house arrest. Suffering from cancer, Jiang took her own life. Cecile Tang, considered one of the greatest Chinese language film directors of all time, began researching Jiang Qing's story in the 1970s. She ultimately decided that this remarkable story might best be told through a musical. She wrote the play, the lyrics, and recruited others to help with music and choreography. I, Ching opens in the Los Angeles area on September 14, 2012. On September 6, 2012, the USC U.S.-China Institute, hosted a panel discussion of I, CHING. Playwright Cecile Tang, composer Lowell Lo, and lead actress Marsha Yuan engaged the audience in a candid discussion of their experience creating the play and preparing it for its American premiere. Panelists: Cecile Tang (唐書璇), playwright, was born in China and graduated from USC. Among her films are The Arch (董夫人, 1970) and China Behind (再见中国，1974). Ms. Tang left filmmaking and emigrated to the United States in 1979, becoming a respected restaurateur in Los Angeles. Many critics, however, see her influence in the so-called Hong Kong New Wave of edgy, groundbreaking young filmmakers in the late '70s and early '80s. Lowell Lo is a songwriter, singer, music producer, actor and environmentalist. Born in Hong Kong, Lo was educated in the USA and has written over 800 songs and music for more than 100 movies. He's won numerous awards in Hong Kong and Taiwan. Marsha Yuan, actress, plays Jiang Ching (Jiang Qing 江青). Marsha studied musical theater at the American Musical and Dramatic Academy (AMDA) in New York City. Over the past 12 years she has established a career as an actress as well as a singer/dancer in Hong Kong.

Jiang Qing 江青 (1914-1991) worked as an actress, traveled to the communist base area in Yan'an, married Mao Zedong, suffered an odd isolation, but rose to prominence during China's cultural revolution. In 1976, Jiang was arrested by her husband's successors and, after a 1980 televised show trial, was sentenced to death -- with a two year reprieve. Her sentence was commuted to life and she was eventually placed under house arrest. Suffering from cancer, Jiang took her own life. Cecile Tang, considered one of the greatest Chinese language film directors of all time, began researching Jiang Qing's story in the 1970s. She ultimately decided that this remarkable story might best be told through a musical. She wrote the play, the lyrics, and recruited others to help with music and choreography. I, Ching opens in the Los Angeles area on September 14, 2012. On September 6, 2012, the USC U.S.-China Institute, hosted a panel discussion of I, CHING. Playwright Cecile Tang, composer Lowell Lo, and lead actress Marsha Yuan engaged the audience in a candid discussion of their experience creating the play and preparing it for its American premiere. Panelists: Cecile Tang (唐書璇), playwright, was born in China and graduated from USC. Among her films are The Arch (董夫人, 1970) and China Behind (再见中国，1974). Ms. Tang left filmmaking and emigrated to the United States in 1979, becoming a respected restaurateur in Los Angeles. Many critics, however, see her influence in the so-called Hong Kong New Wave of edgy, groundbreaking young filmmakers in the late '70s and early '80s. Lowell Lo is a songwriter, singer, music producer, actor and environmentalist. Born in Hong Kong, Lo was educated in the USA and has written over 800 songs and music for more than 100 movies. He's won numerous awards in Hong Kong and Taiwan. Marsha Yuan, actress, plays Jiang Ching (Jiang Qing 江青). Marsha studied musical theater at the American Musical and Dramatic Academy (AMDA) in New York City. Over the past 12 years she has established a career as an actress as well as a singer/dancer in Hong Kong.

Anchee Min has recently published the second book in her fictional account of the last Chinese imperial court and its empress. In her personal story and in her writing, Anchee Min offers a window into spiritual instincts and experiences that mark a rapidly evolving China into the present. See more at onbeing.org/program/surviving-religion-mao/181

Author Anchee Min has won acclaim for her memoir of growing up in China under Mao Zedong. She’s also written several works of fiction in which she explores the human hunger to survive against extreme social brutality. In this conversation, Anchee Min tells us what she learned about the human spirit in the forced labor camp in which she spent her teenage years, and how she’s found healing in America.