On the stage of Kunqu Opera, The Peony Pavilion has been the best accepted masterpiece and the script has been adapted frequently by performing groups throughout the history, but those adaptations have not arouse much attention among researchers. This study will focus on the Kunqu Opera adaptations of The Peony Pavilion after the People’s Republic of China was established. By analyzing different modes of adaptations of the script and the characteristics of performances in different periods, I attempt to evaluate the work of inheritance of Kunqu Opera since the 1950s and to propose solutions to the difficulties the Kunqu Opera artists faced with today. The adaptations are greatly influenced by the dominant political ideology and aesthetic ideas. The early ones were, to a large extent, based on the main excerpts (Zhezixi) of the original script and the performance was traditional, but the endeavour came to an end with the advent of the Cultural Revolution. After the Cultural Revolution, different performing groups developed various modes of adaptation. Some of them presented the main plot of the original script and traditional performance, while most other adaptations aimed to transform the tradition: in the 1980s they mainly revise the scripts and tunes and in the 1990s they began introducing elements of the drama, the symphony and the TV play in the performance of The Peony Pavilion. The new trend reflected that the Kunqu opera artists lost confidence in their performing art and began to deviate from the aesthetics of traditional Chinese opera. Since the new millennium, Chinese began to attach more and more importance to traditional Chinese culture and under the influence, Kunqu opera artists also gradually turned back to the tradition. However, as the opera had to be staged on the modern theatre rather than the traditional one, the artists also had to cope with the tension between the performance of the ancient opera and the new performance conditions. This burgeoning endeavour, on the one hand, modernised the traditional opera, and on the other hand, sacrificed the traditional performing art. To find an appropriate way to inherit and develop the Kunqu Opera is still a challenge task for the artists and scholars. / published_or_final_version / Chinese / Master / Master of Philosophy

published_or_final_version / abstract / Chinese / Master / Master of Philosophy

Thesis (Ph. D.)--Indiana University, 1978. / Vita. Includes bibliographical references (leaves 539-560).

李少恩. / "2002年1月" / 論文 (哲學碩士)--香港中文大學, 2002. / 參考文獻 (leaves 153-163) / 附中英文摘要. / "2002 nian 1 yue" / Li Shao'en. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (leaves 153-163) / Fu Zhong Ying wen zhai yao. / 撮要 --- p.iii / Abstract --- p.iv / Chapter 1. --- 導言 --- p.1 / Chapter 1.1 --- 論題定義 / Chapter 1.2 --- 研究範圍與目的 / Chapter 1.3 --- 過去的研究概況 / Chapter 1.4 --- 研究方法 / Chapter 2. --- 香港粤曲創作史略 --- p.14 / Chapter 2.1 --- 班本時期：鴉片戰爭至十九世紀末（1840-1900) / Chapter 2.2 --- 「理想班本」時期：辛亥革命前後（1900-1920) / Chapter 2.3 --- 粤曲時期：省港大罷工前至中華人民共和國成立後（1920-1960) / Chapter 3. --- 當代香港社會與粤曲撰曲者 --- p.55 / Chapter 3.1 --- 當代香港社會與粤曲發展 / Chapter 3.2 --- 三位當代撰曲者的簡介 / Chapter 3.3 --- 小結 / Chapter 4. --- 當代香港粤曲的創作 --- p.83 / Chapter 4.1 --- 撰曲者對粤曲的已有知識及撰曲動機 / Chapter 4.2 --- 從構思到首演 / Chapter 4.3 --- 個案研究：一次粤曲首演的觀察 / Chapter 4.4 --- 小結 / Chapter 5. --- 當代香港粤曲的結構分析 --- p.109 / Chapter 5.1 --- 當代粤曲的音樂素材 / Chapter 5.2 --- 板腔音樂素材的運用 / Chapter 5.3 --- 「小曲」的選用 / Chapter 5.4 --- 小結 / Chapter 6. --- 結論 --- p.134 / Chapter 6.1 --- 總結 / Chapter 6.2 --- 當代香港粤曲撰曲者的創作路向 / Chapter 6.3 --- 當代香港粤曲撰曲者及作品的承傳 / Chapter 6.4 --- 進一步研究的建議 / 附錄 --- p.144 / 參考書目 --- p.153

published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

粤劇亦被譽為「南國紅豆」已有三百多年歷史是中國傳統戲曲之一。粤劇流傳於南中國,香港,以及海外華人的社會,其中以廣州佛山一帶最為著名。然而在近年外來文化的影響下,粤劇逐漸被忽視。自二零零九年起,粤劇正式被列為聯合國教科文組織人類非物質文化遺產。隨著國家政府對粤劇的重視,地方傳統曲藝在廣州的發展亦產生了變化。本論文以廣州粤劇的音樂社區為中心,著眼於樂師,把樂師分為業餘者,職業樂師及國家級演奏員三類。本論文亦論述粤劇樂師在粤劇國家化的過程中所面對的改變及所扮演的角色,並探討粤劇由一種地方性的民間傳統藝術演變為一項代表國家的非物質文化遺產對當地音樂社區造成的衝擊。 / Since Cantonese Opera was declared an intangible cultural heritage representation by United Nations Educational, Scientific and Cultural Organization (UNESCO) in 2009, the Chinese government has carried out different policies to “develop Cantonese Opera. This study looks at the recent “development“ of Cantonese Opera in Guangzhou from the perspective of musicians. In Guangzhou, different forms of performing groups are present, from privately organized interest groups to state-managed national troupes. This study divides the music community in Guangzhou into three sub-communities: amateurs, professionals and national musicians and investigates the changing lifestyle and way of interaction of musicians within the music community due to the changes that have occurred in Guangzhou with the listing of Cantonese Opera as an intangible cultural heritage. / This research focuses on the musicians in the Cantonese Opera music community in Guangzhou. Based on a three-month intensive fieldwork and two pilot studies conducted in 2011 using participant observation and indepth interview, this thesis aims to explore the following questions: in what ways are the musicians’ social life and mode of living altered? Has the whole music community become more strengthened and united owing to the social changes? Or is the music community becoming more stratified? Is the music community harmonious or full of dissonance? / Detailed summary in vernacular field only. / Cheung, Ah Li. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 127-133). / Abstracts also in Chinese. / Abstract --- p.i / 摘要 --- p.ii / Acknowledgements --- p.iii / Table of Contents --- p.v / List of Figures and Tables --- p.vii / Chapter Chapter One --- : Introduction --- p.1 / Introduction --- p.1 / Contribution --- p.4 / Defining Music Community --- p.6 / Literature Review --- p.8 / The Ethnomusicological Perspective --- p.8 / The Socio-cultural Perspective --- p.10 / The Heritage Perspective --- p.13 / Methodology --- p.15 / Participant Observation --- p.17 / Interviews --- p.19 / Thesis Structure --- p.20 / The Romanization of Chinese Wordings --- p.21 / Chapter Chapter Two --- : History of Cantonese Opera and its Music Community --- p.22 / Tracing the Roots of Cantonese Opera --- p.22 / Before the 1900s --- p.24 / From the 1900s to the 1960s --- p.25 / From the 1960s to the 1980s --- p.25 / From the 1980s until the Present --- p.26 / Background of the Cantonese Opera Music Community --- p.29 / Differentiating between Yueju, Yuequ and Yuele --- p.33 / The Music Community in Guangzhou --- p.35 / Chapter Chapter Three --- : The Amaterus - The “Happy“ Ones? --- p.38 / General Description --- p.38 / Primary Informants --- p.39 / The Sunshine Cantonese Opera Troupe --- p.40 / The District Workers’ Association Cantonese Opera Troupe --- p.41 / The Evergreen Cantonese Opera Troupe --- p.43 / What is “Sifoguhk“? --- p.44 / Hierarchies between Amateurs --- p.46 / The Status of Sifu --- p.47 / The Musicians’ List --- p.48 / The Amateur Community as a Whole --- p.50 / The Invasion of Capitalism --- p.51 / The “Common Enemy“ --- p.53 / Summary: Are they truly the “happy ones“? --- p.56 / Chapter Chapter Four --- : The Professional Musicians - The Dream Chasers --- p.58 / General Description --- p.58 / “The Cantonese Opera Music Boulevard“ --- p.58 / Primary Informants --- p.60 / The New World Hotel --- p.61 / The City Grand Hotel --- p.62 / Tensions within the Community --- p.63 / Competition between Tea Houses --- p.64 / Relationship between Musicians, Singers and the Audience --- p.67 / The Professional Music Community as a Whole --- p.70 / The Rural-City Melting Pot --- p.71 / The Changing Market Demand --- p.73 / Summary: What is the Shared Dream? --- p.76 / Chapter Chapter Five --- : The National Experts - The Heritage Preservers --- p.78 / General Description --- p.78 / The State’s Theatres --- p.79 / Primary Informants --- p.82 / The Guangzhou City Cantonese Opera Troupe --- p.83 / The Cantonese Music and Folk Art Troupe --- p.84 / Categorizing Musicians --- p.85 / The Yueju and Yuequ Distinction --- p.86 / The National Ranking System --- p.88 / The Power of the State --- p.91 / The Institutionalization of Folk Art --- p.92 / The Nationalization of Local Art Form --- p.94 / Summary: The Heritage Preservers --- p.97 / Chapter Chapter Six --- : From Art-form to Uni-form --- p.99 / Introduction --- p.99 / The Composition of the Community --- p.101 / The Characteristics of the Community --- p.106 / Segregation within the Community --- p.110 / Summary --- p.115 / Chapter Chapter Seven --- : Conclusion --- p.118 / Bibliography --- p.127

陳澤蕾. / "2001年9月" / 論文 (哲學碩士)--香港中文大學, 2001. / 參考文獻 (leaves 148-151) / 附中英文摘要. / "2001 nian 9 yue" / Chen Zelei. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2001. / Can kao wen xian (leaves 148-151) / Fu Zhong Ying wen zhai yao. / Chapter 一、 --- 導論一從關目身段探討性別建構 --- p.1-12 / Chapter 1.1 --- 粤劇發展槪述 --- p.1-5 / Chapter 1.2 --- 粤劇硏究槪說 --- p.5-7 / Chapter 1.3 --- 關目身段在粤劇中所扮演角色 --- p.8-10 / Chapter 1.4 --- 性別角度對粤劇硏究的意義 --- p.11-13 / Chapter 二、 --- 性別建構權力 --- p.14-46 / Chapter 2.1 --- 生旦關目身段舉偶比較 --- p.18-28 / Chapter 2.1.1 --- 手 --- p.18-20 / Chapter 2.1.2 --- 步 --- p.20-24 / Chapter 2.1.3 --- 眼 --- p.24-26 / Chapter 2.1.4 --- 身 --- p.26-28 / Chapter 2.2 --- 形體動作與權力之關係 --- p.29-27 / Chapter 2.2.1 --- 審美標準的設定 --- p.29-36 / Chapter 2.2.2 --- 關目身段與權力 --- p.36-42 / Chapter 2.2.2.1 --- 性別 --- p.36-38 / Chapter 2.2.2.2 --- 階級 --- p.38-42 / Chapter 2.3 --- 舞臺上的議價空間 --- p.42-46 / Chapter 三、 --- 性別建構與認同 --- p.47-73 / Chapter 3.1 --- 性別認同繩規的設定 --- p.48-55 / Chapter 3.2 --- 演員性別建構過程 --- p.55-64 / Chapter 3.2.1 --- 生角性別建構過程 --- p.55-60 / Chapter 3.2.2 --- 旦角性別建構過程 --- p.60-64 / Chapter 3.3 --- 關目身段作爲性別認同的再現形式 --- p.64-73 / Chapter 四、 --- 性別越界與重構 --- p.74-104 / Chapter 4.1 --- 舞臺上性別越界空間 --- p.75-82 / Chapter 4.2 --- 反串與非反串的比較 --- p.82-88 / Chapter 4.3 --- 性別越界的兩面性 --- p.88-96 / Chapter 4.4 --- 關目身段與性別重構 --- p.97-104 / Chapter 五、 --- 結論一性別建構的關目身段的性別建構 --- p.105- / Chapter 5.1 --- 粤劇舞臺藝術發展 --- p.105-108 / Chapter 5.2 --- 粤劇硏究展望 --- p.108-110 / Chapter 5.3 --- 關目身段性別意蘊 --- p.111-114 / Chapter 5.4 --- 撰文困局與性別論述複雜性的觀照 --- p.114-116 / Chapter 5.5 --- 性別角度粤劇硏究之文化價値 --- p.116-118 / Chapter 六、 --- 附註 --- p.119-134 / Chapter 七、 --- 附錄一、插圖 --- p.135-147 / Chapter 八、 --- 參考資料 --- p.148-152

Thesis (Ph.D.)--Northwestern University, 1989. / Includes bibliographical references.

Thesis (Ph.D.)--Southern Illinois University at Carbondale, 1974. / Includes bibliographical references.

published_or_final_version / Music / Master / Master of Philosophy