碩士 / 國立成功大學 / 中國文學系碩博士班 / 100 / Zhou Xinfang was the founder of the “Qi-School”, which owned a group in the modern Shanghai Beijing Opera circle. He and Ma Lian-liang who lived in Beijing were called “Southern Qi and Northern Ma” among the exponents, and then regarded as the “representative of the Shanghai Beijing Opera”. Today, “Zhou Xinfang of Shanghai School” and “Mei Lanfang of Jingchao School” are both renowned north and south, therefore, their positions are important. The previous part of the article based on Zhou Xinfang, which discussed his theatrical career and school art; and the latter part based on the space-time background, which placed Zhou Xinfang in the modern Shanghai, and by describing the phenomena of times and society, we could closely intergrate the relationship between Zhou Xinfang and modern Shanghai.
In the aspect of performance’s characteristics and the list of operas, Zhou Xinfang assimilated actively the artistic characteristics of the northern and southern well-known roles, and because of the influence of the western drama, she dared to innovate, including the clothing, posture’s performances or the list of operas, etc., which all developed their own characteristics. The list of operas and the performance’s characteristics of Qi-School tended to be popularized, it represented that the development of opera in Shanghai were based on business and popularization. Since the late Qing Dynasty, the wars were frequent and the advocacy of various reforms also emerged. The Qi-School’s operas owned by Zhou Xinfang often showed the national consciousness and patriotism, and he also actively participated in the operas’ reform, for example, to organize the moving wind drama club, therefore, he was called the preservation of the old drama or reformers of the old drama at that time.
In view of mass media, it not only had effect on the promotion and popularization of the development on Qi-School, but the singing tones and postures also made the artistic characteristics tend to be more refined via such a new medium of recording, broadcasting and film. On the platform of newspapers and magazines, they described the opera ideas of Zhou Xinfang, and made some interaction between the actors, drama critics or drama consultants. Furthermore, the drama comments had positive effects on Qi-School, and also made the development of Qi-School study more specialized. And, through the discussion and debate of article, it also extended an argumentative phenomenon between the Beijing-School and Shanghai-School and made drama arts’ issue of Zhou Xinfang up to the level of the Shanghai Beijing Opera.
Finally, it comes to the issue of Shanghai- School. Though the term of “Shanghai- School” often had a negative impression of “focusing on gimmick”, it was still available for learning while re-examining the Shanghai Beijing Opera. Because of the feature of having the courage to break the old rules, it also made the Beijing opera have more space to create. Qi-School’s art of Zhou Xinfang fully showed the characteristics of the Shanghai Beijing Opera, which are innovative, popularized, realistic and fashionable, etc., therefore, it was one of the representatives of Shanghai Beijing Opera, and had its status and value in the circle of modern Shanghai Beijing Opera.
| Identifer | oai:union.ndltd.org:TW/100NCKU5045057 |
| Date | January 2012 |
| Creators | Huei-ZhenLin, 林慧真 |
| Contributors | Sing-Huei Lin, 林幸慧 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 164 |
Page generated in 0.0075 seconds