Staging the world in late‐qing China: Globe, nation, and race in a 1904 Beijing opera

Abstract

This essay takes the first Beijing Opera of China's early twentieth‐century reformist opera movement as an exemplary text and performative context through which to analyze the production of a new historical consciousness in late‐Qing China (1895–1911). Performed in Shanghai in 1904, the opera is centrally concerned with the modern partition of Poland. The essay argues that the opera's interpretation of history is a deliberate intervention into China's turbulent socio‐political atmosphere and helps mark an attempt to popularize through performance a new synchronic global consciousness that links China's contemporary history to the non‐Western world of global transformation at the turn of the twentieth century.