Multiple Titles and the Creation and Dissemination of Flower-Part Drama

DOI

10.2991/978-2-38476-577-5_21How to use a DOI?

Keywords

Flower-Part drama; Multiple titles for one play; Orality; Drama censorship; Dissemination

Abstract

The phenomenon of a single Flower-Part drama having multiple titles is closely linked to its creative processes and dissemination strategies. Variations in title arising from phonetic transcription errors, arbitrary naming conventions, and the use of different names by different troupes for the same play reflect the oral and collective nature of Flower-Part repertoire creation. Furthermore, its open creative model allowed for the flexible restructuring of performance content through “splitting” and “merging,” leading to the formation of new play titles. Under the pressure of drama censorship policies, troupes repeatedly altered play names to ensure their continued presence on stage. Thus, multiple titles—resulting from both deliberate design and objective circumstances—became a significant strategy in the dissemination of Flower-Part repertoire.

Copyright

© 2026 The Author(s)

Open Access

Open Access This chapter is licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International License (http://creativecommons.org/licenses/by-nc/4.0/), which permits any noncommercial use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made.

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TY  - CONF
AU  - Yingshan Feng
PY  - 2026
DA  - 2026/05/15
TI  - Multiple Titles and the Creation and Dissemination of Flower-Part Drama
BT  - Proceedings of the 2026 5th International Conference on Social Sciences and Humanities and Arts (SSHA 2026)
PB  - Atlantis Press
SP  - 206
EP  - 215
SN  - 2352-5398
UR  - https://doi.org/10.2991/978-2-38476-577-5_21
DO  - 10.2991/978-2-38476-577-5_21
ID  - Feng2026
ER  -