博士 / 國立臺北藝術大學 / 戲劇學系碩(博)士班 / 106 / The main subject of the thesis is “Haipai Jing ju” in the first half of the 20th century, and it focuses on the issue of its differences, variability, and local development with its chief influence, “Jingpai Jing ju.”
Jing ju is an important issue in the study of contemporary Chinese traditional Xiqu. To view it from a vertical historical discourse, historical essays in the past naturally evacuated the development of southern dramas, regarded “Haipai Jing ju” as an result of Jing ju being passed on south to Shanghai after it matured, and neglected the fact that dramas from the south blended with those from the north and multiplied in the process of development. With respect to horizontal research into performing art, they focused on “role categories and schools”, which had the most abundant achievements. However, the aforementioned two aspects were from a perspective circling Beijing, and thus, we might see something completely different if “Haipai Jing ju” was the main focus of observation.
First of all, dramas from the south had solid foundation as numerous talents gathered there. Additionally, when the systematic tunes of Hui, Han, Kun and Bang music converged and developed in Beijing, the theatrical companies of these tunes had had audience and quite a few performers as well in Shanghai. Whether the Beijing tune being passed on to south could be the only important nutrition for various tunes and genres of dramas that fermented in Shanghai is the first question the study proposes for historical records on Jing ju. Moreover, the center of a traditional opera was the performances of actors, and all scenes on the stage depended on them, which is almost reasonable common sense. However, according to the research survey, the study found that the performances of Haipai Jing ju in the 20th century did not entirely adopt traditional aesthetics expressing artistic conception, and that the focus on the stage and the entire creation were not necessarily actors-centered.
We can even say that in practicing the production system of “union of theatrical companies with troupes,” capital holders commanded the management right and leading right for plays. A theater manager determined the ultimate look of a performance upon taking costs, profits and risks into consideration. As a result, a theater became production-oriented, and the professions and styles of individual characters were no longer the only consideration for creation. Theatrical performances thus became like variety shows and were synthetic. Additionally, the selling points of a work depended on complicated plots, props and scenes and the performances of actors. Both leading actors and ordinary members of a theatrical troupe were hired by theater managers, and the gap of their salaries was quite large depending on their fame and social status. Therefore, leading actors being modeled as stars were the investment costs of a theater, so they had no right to choose a character and had to be familiar with different roles and the essence of performances, blend a variety of performing elements and directly interpret a figure to show their characteristics by transcending rules for role categories.
Performing art has the features of relying on contemporary space and time, being difficult to preserve and transient. The artistic meaning of Haipai Jing ju, in particular, is difficult for later generations to comprehend as it lacked a school successor to pass it on and reproduce it. Fortunately, the author successively found hundreds of old photographs of Haipai Jing ju and recorded over three hundred phonograph records sung by renowned actors of Haipai between 1905 and 1946 when collecting data in China, and they have facilitated the possibility of probing into the aesthetics of Haipai Jing ju in the study.
With the assistance of newspapers, photographs and phonograph records along with oral history by actors, the study attempts to piece together the historical performances of Haipai Jing ju with words, visual and audio records and memories. Additionally, based on the development and ecology of the subject, the study probes into the aesthetic law of the art of Haipai Jing ju from an external mechanism inward from the following four issues to complement newspapers, stages, market mechanism and other external levels where most of current researches were based on.
“A Look at Jingpai and Haipai—Review of Beijing-Centered Perspective in Jing ju Circles” shares its viewpoints regarding the writing of Jing ju history and proposes some questions. Additionally, it differentiates and analyzes differences between Jingpai and Haipai. “Profits Come First—By Observing Theater Managers” probes into how a theater manager dominates a performance. “Dramas from Scenes—Props and Scenes Serve as Core Thought of Creation” discusses transformation and breakthrough Haipai Jing ju experienced in creation thought and performing rules. “Reborn Locally—Performing Features of Haipai Jing ju Developing Locally” has a preliminary exploration of how Jing, Hui, Kun and Bang music converged again and produced a new singing tune in chorus.
| Identifer | oai:union.ndltd.org:TW/106TNUA0510002 |
| Date | January 2018 |
| Creators | KAO,MEI-YU, 高美瑜 |
| Contributors | CHIU,KUN-LINAG, LIN,XING-HUI, 邱坤良, 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 | 338 |
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