碩士 / 國立臺北藝術大學 / 戲劇學系碩(博)士班 / 107 / Since the ban of the Qing government in the late 17th century, females were expelled from the field of performing art. Therefore, Peking Opera, which arose in the mid-19th century, developed a performing system that conformed male physiological conditions due to male-only circumstance. Until the 1870s to 1880s, female theatrical companies began to appear in Shanghai, these theatrical companies that were comprised all by women were called Mao-Er Ban. In the late 19th century, the female theatrical companies entered the market of Shanghai Peking Opera performance and started to perform in professional theaters, so-called Cha Yuan. In the next fifty years, more and more females dedicated themselves to the area of Peking Opera performance. The significant development of their art performance brought a great change to the world of Peking Opera, which used to only belong to males. However, in the current works of theatrical history, actresses are usually some names bundled with the actors. Their importance was not fully reflected in the research and descriptions of Peking Opera history.
The subjects of this thesis are the Shanghai Peking Opera actresses in the early 20th century. It constructs the thread of the situation that Peking Opera actresses were facing in these fifty years. The development of Peking Opera actresses had been through playing in Cha Yuan, entertainment centers, modern theaters, and mini-theaters. And the transformation of single-gender theatrical companies to mixed-gender ones. On the other hand, this thesis inquires the reasons of the development tendency of Peking Opera actresses. It shows the dilemma that the actresses were facing in three aspects, which were the performers themselves, the development of Peking Opera, and the general Peking Opera performance environment in Shanghai. By constructing the situation of Peking Opera actress development and inquiring the points mentioned above, in the end, it is found that the major influence that the actresses brought to the development of Peking Opera was the complete transformation of its sexual structure. In terms of the performance, the great amounts of females who participated in acting Dan had improved the status of Dan in Peking Opera. In terms of the employers, the actresses became important performers and disseminators of the performing art of Peking Opera. Their appearance, disposition, and musical quality that are different from male performers had gradually changed the audience’s aesthetic value.
| Identifer | oai:union.ndltd.org:TW/107TNUA0510002 |
| Date | January 2019 |
| Creators | CHENG, HSIAO-YUAN, 程筱媛 |
| Contributors | HSU, YA-HSIANG, 徐亞湘 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 116 |
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