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Dissertations / Theses on the topic 'Chinese opera'
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Evans, Anne Megan. "The evolving role of the director in Xiqu innovation." Thesis, University of Hawaii at Manoa, 2003. http://proquest.umi.com/pqdweb?index=0&did=764745581&SrchMode=1&sid=4&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1233276975&clientId=23440.
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Tse, Hue-ying, and 謝曉瑩. "The inheritance of modern Cantonese opera from traditional Chinese opera." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43085878.
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Cheng, Kai-mau Joe. "Chaozhou Opera performing centre." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25945981.
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Chan, Ping-hung Joseph, and 陳炳雄. "New Chinese opera house in Temple Street." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31985063.
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Chan, Ping-hung Joseph. "New Chinese opera house in Temple Street." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25949421.
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Leung, Lai-yue Ciris. "The social organization of a Cantonese opera performance /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22763235.
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Wang, Hsiao-Mei 1959. "The Characterization of Sheng and Dan Roles in Chinese Opera." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc500885/.
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This study sought to discover the principles of characterization governing the Sheng and the Dan roles in the Chinese opera. Seven Dan role divisions and three Sheng role divisions were studied. It was discovered that throughout its long history the Chinese opera had adhered to its original singing and dancing styles; that the creative activities involved in the opera's staging were subordinated to singing and dancing styles; that the actors in the Chinese opera perform only one role category in their career; that years of rigid training were required before the actors were allowed to perform on stage; that each role division had its peculiar method of characterization that was shown through their performances, their costumes, and their acting techniques.
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Yang, Wai Yin. "The historical development of Cantonese opera in the Republican period /." View Abstract or Full-Text, 2003. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202003%20YANG.
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Thesis (M.Phil.)--Hong Kong University of Science and Technology, 2003.<br>Includes bibliographical references (leaves 232-238). Also available in electronic version. Access restricted to campus users.
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Cheng, Kai-mau Joe, and 鄭佳茂. "Chaozhou Opera performing centre." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B3198230X.
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Chow, Sze Sum. "Tradition and innovation: adaptation in Cantonese opera." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/288.
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Cantonese opera, a Chinese regional operatic genre sung in the Cantonese dialect popular in the Pearl River Delta area and overseas Cantonese communities, has shown its vitality through absorbing various elements of theatrical art and culture, thus often moving between tradition and innovation. It is to be argued that adaptation has always been the most essential means of introducing changes to the genre, and it is precisely because of this need for change from the practitioners or the audience that innovation emerges.;The current thesis investigates how adaptation contributes to changes in Cantonese opera in different developmental stages of the genre by mediating the conflict between tradition and innovation. Focuses include the establishment of Cantonese opera by adapting other regional operas into paichangxi [episodic repertoire] and its re-adaptation to different media; the role adaptation and re-adaptation played in Cantonese opera reform in the 1930s in introducing new elements and establishing aesthetic traditions of contemporary Cantonese opera; how adaptation and re-adaptation promoted the canonization of Tong Tik-sang's works since the 1950s; and the role adaptation played in recently produced works for the Hong Kong Academy for Performing Arts aiming at training performers as well as searching for a possible path for the continuation of Cantonese opera. It presents a never-ending cycle of tradition formation and innovation absorption, catalyzed by adaptation, that shapes the constantly changing face of Cantonese opera.
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Chen, Hong. "Preference of Chinese Undergraduate Music Majors for Chinese Xi-Qu and Western Opera." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5922.
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The purposes of this study were to explore the preference of the Chinese undergraduate music majors (N = 27) for Chinese Xi-Qu and Western opera audiovisual examples, the reasons for preference, influence of familiarity on preference, and the relationship between preference ratings and the emotions as detected by FaceReader. The mixed research method, convergent parallel design, was used to explore this topic in depth. As Xi-Qu and opera integrate multiple art forms, eight audiovisual examples (Xi-Qu, n = 4, opera, n = 4) were selected as the stimuli to show the characteristics of the two genres. The participants watched the audiovisual examples individually and responded to a questionnaire meanwhile their facial expressions were recorded for FaceReader analysis. The semi-structured interviews were administered to collect qualitative data pertaining to participants’ general opinions about the musical examples, familiarity, reasons for preference, and the emotions encompassing when watching the musical examples. Descriptive and inferential statistics were used to analyze the data obtained from the questionnaire. The facial expressions video files were analyzed by FaceReader. The qualitative data obtained from interviews were coded to find themes.
The quantitative findings suggested that the operatic examples received higher mean preference ratings than the Xi-Qu examples. The top three preferred examples were all operatic pieces while the three least preferred examples were Xi-Qu pieces. Results of one-way ANOVA showed that the difference among the preference mean ratings showed the statistical significance, F (7, 208) = 14.15, p < .01. The operatic examples also received higher familiarity ratings than Xi-Qu examples. The difference among the familiarity mean ratings also showed the statistical significance, F (7, 208) = 2.99, p < .01. The preference and familiarity ratings showed a modest but statistically significant relationship (r = .45, p < .01). A statistically significant relationship was found between the preference ratings and tempo (r =. 23, < . 01). Furthermore, singing was always among the top three most liked elements in the operatic examples, but singing was always among the top three most disliked elements in the four Xi-Qu examples despite that singing was also among the top three liked elements in two Xi-Qu examples.
Numerical FaceReader results showed a strong negative relationship between “angry” and preference (rho = -.976, p < .01). The moderate relationship was found between “sums of negative emotions” and preference (rho = .741, p < .05). No statistically significant relationship was found between valence and preference and between arousal and preference. The results of temporal FaceReader analysis showed that the participants’ emotional response to the audiovisual examples changed with the unfolding visual and audio information.
The qualitative analysis revealed a model of Xi-Qu and opera preference. The model contained the factors influencing preference for Xi-Qu and opera, including personal factors, cultural and environmental factors, visual factors, musical factors, and musical response. Formal voice training was the most reliable indicator of preference for operatic examples. Familiarity gained through guided listening instead of random repetition was positively related preference for Xi-Qu examples. The unexpected findings were the influence of religion and static perspective on preference for music. Implications and recommendations were discussed, and the suggestions for future research were included.
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Wong, Hoi-yan. "Centre for HK Cantonese Opera Artist's Association." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946687.
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Jang, Ren-Hui. "Traditional Chinese theatre for modernized society a study of one "new" Chinese opera script in Taiwan /." online access from Digital Dissertation Consortium access full-text, 1989. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?8913981.
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Long, Lingqian, and Lingqian Long. "Han Opera as a Public Institution in Modern Wuhan." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/625348.
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Wuhan Han Opera Theater (WHOT, formerly Han Opera) is a 400-year old regional opera based in Wuhan, in Hubei Province, in China. WHOT’s recent designation as a public institution under China's neoliberal creative economy initiative to enter the global market has necessitated its transformation from a cultural institution (wenhua jigou) into a creative industry (wehua chanye). As such, WHOT must now create adaptive strategies, alter traditional conventions of performance, infrastructure, education and community presence, reconstitute traditional social functions at the national level, and most importantly, manage a relationship with the government that is entirely novel for both. In the summer of 2016, WHOT participated in two government-led projects: Opera into Campuses and the Chinese National Arts Fund. These programs were the focus of my ethnographic fieldwork, to identify possible effects of the creative economy initiative on a traditional musical institution. Specifically, inquiry was made as to whether and how creative musical and organizational adaptations were being decided, implemented and executed, and as to how the outcomes of these adaptations were being evaluated. Despite using an ethnographic approach, findings from the preliminary study were found to be much more broadly generalizable and applicable across disciplines than expected. As a result, this thesis makes the following arguments: for modernization of an institution of traditional music to be effective, a relationship must exist whereby the transitioning institution is given creative license to generate continued socio-cultural productivity through its creative class ("talent") in joint cooperation with, rather than dependence on, government agencies. The goal must be to revitalize rather than simply preserve such an institution, and to avoid cultural attrition of unique musical qualities of the institution.
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Leung, Lai-yue Ciris, and 梁麗榆. "The social organization of a Cantonese opera performance." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B29751093.
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Jessup, Sarah Huntington. "Staging traditional Chinese opera in the reform era conflicting local identities in modernization /." online access from Digital Dissertation Consortium access full-text, 2001. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3016872.
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Law, Ho-chak, and 羅浩澤. "Kun opera: a study of its notations and instrumental sonority." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46427740.
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林鳳珊 and Fung-shan Lam. "A study of Cantonese opera scripts of the 1920s and1930s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31215452.
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Shao, Luyin. "A STUDY OF ACCULTURATION IN CHINESE-MONGOLIAN ER’RENTAI FOLK OPERA." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/94.
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Er’rentai, or Mongolian dance and song duets, is a genre of folk opera in the Inner Mongolian Autonomous Region. Er’rentai performances can be categorized into two styles—the “western-style” and the “eastern-style.” The aim of this thesis is to explore the acculturation in Chinese-Mongolian er’rentai genre in the following ways. First, I address the historical background of the western-style er’rentai. Then, I draw on fieldwork with Huo Banzhu, a famous er’rentai musician, to introduce contemporary state of er’rentai's development. Finally, I employ musical analysis to demonstrate the borrowings of Mongolian music and culture in the formation and transmission of Chinese-Mongolian er’rentai.
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Chen, Yeong-Rury. "A fantasy China an investigation of the Huangmei Opera Film genre through the documentary film medium /." Australasian Digital Thesis Program, 2006. http://adt.lib.swin.edu.au/public/adt-VSWT20061009.132620/index.html.
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Thesis (DDes) - National Institute of Design Research, Swinburne University of Technology, 2006.<br>A doctoral research project presented to the National Institute of Design Research, Swinburne University of Technology in partial fulfilment of the requirements for the degree of Doctor of Design, 2006. Typescript. Bibliography: p. 109-120.
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Riley, Josephine. "The articulate figure : a study of presence in the Chinese theatre." Thesis, University of East Anglia, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261171.
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Chan, Chun-miu, and 陳春苗. "A study of Kunqu opera adaptations of the PeonyPavilion (from 1957 to today)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B47849915.
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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.<br>published_or_final_version<br>Chinese<br>Master<br>Master of Philosophy
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Ludden, Yawen. "CHINA’S MUSICAL REVOLUTION: FROM BEIJING OPERA TO YANGBANXI." UKnowledge, 2013. http://uknowledge.uky.edu/music_etds/19.
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This study seeks to investigate the modern derivative of Beijing opera, known as yangbanxi, through macro and micro approaches. The first part of the thesis surveys the development of Beijing opera under the historical context and in its social, political, and cultural perspectives. The second part, taking a microscopic perspective, undertakes an in-depth analysis of the compositions that were solely created by composer Yu Huiyong. First, it assays the application of Yu’s theory to his compositions of various Beijing opera arias. Second, it analyzes Yu’s instrumental music in compositional dimensions such as material, structure, and techniques, considering the larger implications of Yu’s approach. Third, it explores the highly acclaimed opera Azalea Mountain as a case study, integrating compositional analysis and sociopolitical perspective in order to give a relatively full picture of Yu’s final work as sole composer.
The analysis also focuses on three aspects of the yangbanxi. The first aspect is the role of composers, in which Yu Huiyong was largely responsible for shaping the musical language and influencing the direction of Beijing opera. The second aspect is the role of politics, focusing on Jiang Qing, who had a clear vision to transform Beijing opera along revolutionary lines and the artistic and political wherewithal to implement that transformation. The third aspect is the role of culture in shaping society, with an emphasis on yangbanxi, as the artistic centerpiece of the Cultural Revolution, and special consideration is given to its role in creating a new mass culture.
Beijing opera, as a living art form, had been undergoing a process of modernization throughout the first half of the twentieth century, but it was Yu Huiyong who clearly articulated what needed to be done to make the traditional art form relevant to modern audiences. In particular, the most significant achievement of yangbanxi was its music development, which achieved a new height in artistic development thanks to Yu Huiyong’s fully constructed music theory and newly established music and performance system. As the main composer, designer, theorist, and organizer of yangbanxi, Yu Huiyong made the greatest contribution to these developments. His academic research laid the theoretical framework of the further development of opera music, and his hands-on practice and music innovation provided valuable experience for the younger generation.
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Goldstein, Joshua L. "Theatrical imagi-nations : Peking opera and China's cultural crisis, 1890-1937 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9961764.
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Pockrus, Jason. "The Saxophone in China: Historical Performance and Development." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248502/.
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The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai's nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China's musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China.
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Latham, Kevin. "Cantonese opera in Hong Kong an anthropological investigation of cultural practices of appreciation and performance in the early 1990s /." Thesis, Online version, 1996. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.309433.
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Lee, Elsa. "The changing role and status of the drummer in Chuanju (Sichuan opera) /." Title page, contents and abstract only, 1993. http://web4.library.adelaide.edu.au/theses/09PH/09phl4772.pdf.
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黃凱茵 and Hoi-yan Wong. "Centre for HK Cantonese Opera Artist's Association." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31984216.
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NAKATSUKA, Ryo, та 亮. 中塚. "青木文庫所蔵SP盤レコード目録稿". 名古屋大学附属図書館研究開発室, 2010. http://hdl.handle.net/2237/14586.
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Ma, Halil. "Urban opera and contemporary Chinese politics : a case study of the Shanghai Yueju Company marketisation." Thesis, University of Leeds, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539691.
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Chan, Chi-yau, and 陳智柔. "Safeguarding intangible cultural heritage in Hong Kong: a lesson to learn from Cantonese opera." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B4834428X.
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Intangible cultural heritage (henceforth ICH), a living expression of indigenous culture and traditions, have been orally transmitted through generations. As the heritage bearers are usually aged and have mere opportunities to pass on their knowledge to young practitioners, ICH are disappearing at a rapid pace. Safeguarding ICH is a battle against time.
Since the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (henceforth the Convention) was adopted in 2003, China has been proactive in participating in the Convention and safeguarding its ICH. Ratified the Convention on 2 December 2004, China was the sixth out of the 143 State Members deposited the Convention1. China’s prompt response to the Convention could show how determined she was in safeguarding its ICH.
Hong Kong agreed to apply the Convention in December 2004 but the early adoption of the Convention did not help Hong Kong to keep its pace on safeguarding ICH.
During the 6 years practice of safeguarding ICH since 2006, China had already built its ICH inventory through announcing 3 batches of National ICH List and inscribing 2500 plus elements, established a ICH Transmitters List with 1400 plus transmitters, and most importantly, adopted the Safeguarding of the Intangible Cultural Heritage Law (henceforth the China ICH Law).
In contrast, Hong Kong has not even completed its territory-wide survey until now for its first batch of inventory, not to mention setting up a safeguarding ICH policy.
Hong Kong’s achievement in safeguarding ICH so far is inscribing Cantonese Opera onto The Representative List of the Intangible Cultural Heritage of Humanity (henceforth the UNESCO Representative List) with joint effort from Macao and Guangdong in 2009; inscribing Cantonese Opera and Chinese Herbal Tea onto the National Intangible Cultural Heritage List (henceforth the National ICH List) with joint effort from Macao and Guangdong in 2006. However, the first time Hong Kong successfully inscribe ICH elements onto the National ICH List with its own effort was in 2011, five years after its ICH safeguarding ICH work kicked off.
Meanwhile, Hong Kong has paid a lot more effort in safeguarding Cantonese Opera. There have been research to preserve scripts and masterpieces; there is an advisory committee and a fund set up to dedicatedly support Cantonese Opera; new Cantonese Opera venues are developing by the Government; a programme developing young troupe for inheriting the skills from Cantonese Opera masters is set up.
In this dissertation, I will study the safeguarding ICH progress made in UNESCO, China, Hong Kong and safeguarding Cantonese Opera progress in Hong Kong in terms of different safeguarding measures as defined by UNESCO. From the comparison between the safeguarding progress of Hong Kong on ICH and Cantonese Opera respectively, answers can be found to improve the safeguarding ICH situation in Hong Kong.<br>published_or_final_version<br>Conservation<br>Master<br>Master of Science in Conservation
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Chen, Hsin-yu, and 陳新瑜. "The Development of Chinese Opera Mask." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/s96u5k.
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碩士<br>東吳大學<br>中國文學系<br>96<br>The classical Chinese Opera is one of Chinese inherent performing arts which provided the fine tradition and the characteristic. Also, Chinese Opera uses dancing to display personal’s emotion, the ideals, the language and the behavior in the plays. The mask art is the most particular makeup and performance style in traditional Chinese Opera. The mask has long existed in two kinds of views: during 54 movements, the traditional Chinese culture abided strongly by the impact of Western thought. At that time, many literatures, refined scholars, professors publicly opposed the styles of mask that thought it’s “barbaric left over”. They advocated abolishing the Mask. However, the Chinese classical opera mask can continue to use ceaselessly on the stage for a long time. Naturally, Mask has its practical with the appreciation value, and it isn’t only for few people who had a partial for the Mask. As a result, the Liyuan realm used the thousands of masks, the different dynasty and the different kind of mask styles and started drawing up the books. The academic association emphatically rearranged the traditional art culture and did more systematic preservation and analysis. They face up to “mask” for the precious artistic resource. However, along with the development prosperously with diversification, it’s started showing the work in a slipshod way and the situation of fill a past without real qualifications by regardless of the plan or research analysis. Therefore, the thesis is presented the mask of “synchronic” and “diachronic” for the main spindle. Mask is also provided mutually promotive and transversal theory. We use the history of Chinese Opera for warp and the development of Mask for weft. Then, Mask is coordinated to relate cultural relic material and carried on the entire aspect view of the Mask research. Next, the thesis is collected all previous dynasties of Mask recourses and examines the data one by one which made the systemically arrangement and gathered the theory and the practical series with the academic judgment. One side is kept the old fashion, and the other is innovated the new style. At least, the thesis is discussed clearly about the origin and development, evolution, transmutation, cancels draws art, the meaning of symbol and the concept of art. I hope that I can contribute the scholarly research of the Mask art.
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Sheng-HsunTsai and 蔡昇勳. "Museum of Chinese Opera Mask, Tainan." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/84prtm.
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碩士<br>國立成功大學<br>建築學系<br>104<br>This thesis started with Li Li-zhong – a master of Chinese opera mask. In 1950, 23-years-old Li Li-zhong left home by his own and followed the Nanjing Government coming to Taiwan. In this turbulent period, Chinese opera became Li’s spiritual sustenance. In his later years, Li has been devoting himself to studying Chinese opera mask, and has drawn 1500 drafts of Chinese opera mask in 9 years (2001-2009). Establishing a museum, which will conserve the drafts and popularize the art of Chinese opera masks, is Li Li-zhong’s greatest wish. This thesis assumes that the author is commissioned to implement this project – Museum of Chinese Opera Mask, Tainan. On thesis research, first, we review the history of museum and discuss the position and the meaning of this project nowadays; secondly, list the development of Chinese opera in Tainan to provide the local context. On thesis design, we start from the research works on the culture meaning and the features of Chinese opera mask, through which we get lots of ideas for our design project.
There are seven sections in this thesis:
1. Prelude: Li Li-zhong – the Master of Chinese Opera Mask.
2. Museum
3. Chinese Opera Masks
4. Culture of Mask
5. Site Analysis
6. Design Approach
7. Design Presentation
The purpose of this project is to fulfill a museum for Tainan City through Li’s story and his works. In this place, traditional art – Chinese opera masks may be enriched with new life and style. This is our goal.
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朱安麗. "On the 'qiao' in Chinese Opera." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/48424181880300659645.
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碩士<br>佛光大學<br>藝術學研究所<br>101<br>There have been many books and theses discussed about the ‘qiao’ in Chinese opera. Many fans, researchers - even commentators talked about the differences between wearing ‘qiao’ and not wearing it in many standard repertoires. Either from the angle of academic studies or pure interests, those studies have shown the views of aesthetic, history, sociology and feminism, but rarely from someone’s personal experience that has been trained and skilled to act with ‘qiao’, giving an aspect of practical skill and the process of training.
Deeply rooted in skill, the art of Chinese opera will not be able to fully shown without it. As for the roles of Dan, the skill of acting on ‘qiao’ is the most difficult and effort-taking work. With the time passing and the experience accumulated, I tried to gather and sort out some rules from my own experience and from some superiors’, seniors’, and some peer actresses’ experience on the skill of ‘qiao’, in order to help the younger generation set a more clear route on their learning path while preventing them from taking unnecessary detours, and at the last but not least, to hand down the tradition generation after generation. As a result, the thesis is stressed on skill part rather than related art theories, especially the method and skill through the training, theories are only mentioned if necessary.
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Tung, Hui-Chuan, and 董慧娟. "Explore Chinese opera script retribution Features." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/05908564439839378186.
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碩士<br>銘傳大學<br>應用中國文學系碩士在職專班<br>103<br>In China, retribution concepthas a long history and tradition, since the judges and punisher istendo(a concept of god) orspiritual being rather than human beings. Whether they were wise or fool, rich or poor, are not exempt from retribution coming, thus this conception has fairable and generality, content with wish about justice that humanity perused. Therefore, thinking of retribution makes the society peaceful, and become an assist power with moral.
Beijing operaorigins from folk Chinese opera, reflected the aspect of Chinese folk culture loyalty, the scenario also presents the real concept of Chineseretribution. The motion of study about this essay were based on 『Xi Kou』(Drama textual research ) , aim at how modern karma belief being presented among the people. When it comes to construction of essay, analyzed how retribution showed in Buddhism and Daoist, even the traditional Chineseretribution thinking. Hoping this could help on studying the scenario deeply with systematicness. And finally reveal how Ten (sky, invisable.nature god), Di(spiritual being), Ren(human) act themselvesevil or be good and the connect with retribution conception. The third part mainly focus on hell punishment and ghost taking revenge, research on the type, the way how, and psycho-factor. The fourth part, talking about how spiritual beings or Goddess make them do things good, prevent from being seduced to do evil.Chapter five, we purely focus on retribution at human world, fulfill the working of Karma system, without the interference from super nature, trying reach the goal of education.At the last chapter, we turned back to retribution culture mentioned in 『Xi Kou』, maybe we can realize the thought about concern toward society by the ancient people, through the extension of retribution theory.
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Su, Yi-Ju, and 蘇逸茹. "A Collection of Chinese Opera Plays." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/11067293620191975012.
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碩士<br>國立臺灣大學<br>戲劇學研究所<br>100<br>This thesis consists of two parts—one is newly adapted Jing-Jus: Wu Yuan Desire a Treasured Sword and Peach Blossoms and the Lover''s Face; the other is the plot explanation and text analysis.
Wu Yuan Desire a Treasured Sword tells that Wu Yuan is anxious to take revenge; therefore, he needs a treasured sword to achieve his goal. Hence, he persuades Gan Jiang and Mo Ye to forge a treasured sword. On the process of the revenge, Gan Jiang and Mo Ye die innocently. Moreover, a character called ‘Piping Man’ reminds Wu Yuan of the unnecessary sacrifice; meanwhile, Piping Man questions him why he must do and makes him introspect what he has done.The second play, Peach Blossoms and the Lover''s Face, is adapted from a zaju of the same title in Ming Dynasty. Love between the leading roles (Yi Chuen and Chuei Hu) is the main plot, and then comparing and contrasting the different situations of love with the other two couples. By this, the core of the play might reveal—meet and miss among people.
After that, the plot explanation and text analysis express my thoughts on the plays, including the creative originality and analysis of the plot and characters.Finally, I attempt to review the whole writing process; through which the work is fulfilled.
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Chen, Wen-Tzu, and 陳文梓. "A Collection of Chinese Opera Plays." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/07764739124332631414.
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碩士<br>國立臺灣大學<br>戲劇學研究所<br>99<br>This thesis consists of two parts—three plays, and its explanation and analysis.
The three plays are: The Arrival of Emperor Ming-Huang, The Gambler, and Fan-Jin Passes the Imperial Exam. The Arrival of Emperor Ming-Huang is a Beijing Opera portraying a debate between a theatre group and Emperor Ming-Huang, the God of theatre, on how to maintain their business and increase their audiences. In this play, through their performances of classics the theatre group is able to contemplate and reflect on drama and theatre as a whole, which echoes the concerns of present day people. The Gambler is also a Beijing Opera, it portrays a man who is obsessed with gambling. In this short play, even near death the man lies to his wife in order to have enough paper money for the dead to gamble with in hell. The entire play is presented much like a game itself. Lastly, Fan-Jin Passes the Imperial Exam is a Taiwanese Opera adapted from the works of previous writers. This play is an irony on people who go to the extremes trying to pass the imperial exam, and also those who blindly follow the rich and powerful.
The explanation and analysis expresses my thoughts on the three plays, including their creative originality, analysis of the plot, analysis of the characters, in attempt to review the whole process of my writing.
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Tian, Yiyin. "Anhui Opera: Towards Maintaining a Historical Regional Dramatic Opera Tradition in Contemporary China." Thesis, 2021. https://hdl.handle.net/2440/134170.
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Anhui Opera is a vital part of Huizhou culture that spread over centuries to more than half of China. It occupies an important position in the history of traditional music. Yet Anhui Opera was on the verge of extinction prior to the foundation of the People’s Republic of China. Only after 1949, when this new government adopted a policy of conservation, was Anhui Opera able to rise again from obscurity.
This thesis aims to reveal the charm and significance of Anhui Opera by exploring its main stylistic characterises as primarily develop in Hefei, old Huizhou (now Huangshan city) and Anquing in China’s Anhui Province. It offers an ethnomusicological investigation of the contentious issues of the Anhui Opera’s origins, its distinctiveness from the other Chinese opera styles, and the influence of present cultural policies on its continuing development. It examines the historical development of the Anhui Opera Troupe (Anhui-Peking Opera Theatre) in Anhui Province, and the contemporary revival of Anhui Opera in recent times.
It concludes that Anhui Opera most likely originated in Huizhou in the south of Anhui Province, but also became popular in Shipai. It also demonstrates how suitable government cultural policies play a decisive role in the survival and transmissions of Anhui Opera and considers avenues for further research.<br>Thesis (MPhil) -- University of Adelaide, Elder Conservatorium of Music, 2021
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HSIANG--KENG, CHOU, and 周象耕. "Research on Female Impersonator in Chinese Opera." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/69393152323487608200.
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Ho, Yuan-Chia, and 何元佳. "The theater origin of Taiwan Chinese Opera – The performance formula of Chinese Opera and the research of performance space." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/95548184232073059634.
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碩士<br>中原大學<br>建築研究所<br>93<br>Abstract
Having gone through many transformations, Chinese Opera has developed a unique “performing program” and “performing space”. The beauty of Chinese Opera comes from the detail and order of its performing program. This unique performing program makes specific demands on the “performing space”. However, in Taiwan performing theaters have multi-functional “frame-style stages”. This not only limits the space and techniques of Chinese Opera, it also affects the relationship between the audience and the performers. This study looks through the historical changes and impacts that specific performing spaces have on the essence of Chinese Opera to assess the contemporary performing of Chinese Opera on the modern stage, in order to understand the influence of Western modernized theater space on Chinese Opera performing.
In the past, the Chinese Opera performing program itself determined the spatial requirements necessary for its specialty. The performing program adapted to the stage equipment and the needs of the audience. The modernized equipment and performing space has changed the Chinese Opera performing program. Changes in the viewing habits of audiences, and the influence of ways of viewing from Western theater have caused Chinese Opera to shorten its long drama into succinct sections or pieces. During a performance, the audience behavior is kept under control. This has detracted from the traditional way of viewing Chinese Opera that manifested the liveliness of social interaction. Modernized equipment has brought to Chinese Opera the use of a backdrop. However, the essence of Chinese Opera is the virtual, or invisible stage. The backdrop distracts the actors’ attentions, and also limits the original meaning context of Chinese Opera’s virtual stage that breaks free from the limitation of time and space. The use of microphones in modern Chinese Opera effects the actors’ performance, and also lowers the audience’s listening appreciation, since singing skill is a very important part of Chinese Opera.
The traditional Chinese Opera had different performing spaces according to the program and location. When Chinese Opera is performed on a modernized Western stage, the essence of the performance has to be redesigned according to modern theater. In Taiwan, however, the theater design industry lacks understanding of the aesthetic nature of Chinese Opera. Consequently, today’s Chinese Opera performance has to compromise its spatial requirement, which diminishes its performing quality. The conformity of the modern stage also reduces the options for Chinese Opera performance.
If the spontaneous and lively atmosphere of the traditional Chinese Opera performing space can be recreated today, then the specialty of Chinese Opera can show its aesthetic characteristic through the reformation of the space, and no longer have to be considered a developed art form based only on Western theoretical notions. Then, everyone can freely appreciate the essence of the Chinese traditional art of Chinese Opera. In the meantime, perhaps a solution can be found to the problem of the design of the performing space. This is a goal toward which we all should strive.
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Hsu, Hsiao Tsun, and 許孝存. "Study Clown in Stage Language of Chinese Opera for Examples Famous Clown of Chinese Opera Xiao,Chang-Hua《Famen》." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/2vgjed.
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碩士<br>中國文化大學<br>戲劇學系<br>103<br>This white paper from the opera clown art as the main core, from ancient excellent choice about the origin of man and clown, and exemplified in the history of opera's most distinguished people - Mr. Xiao Changhua The "Famen Temple," which attempts to compare, analyze and then three persons of the same Mr. GUO Shan clown, Mr. Rui Ci whole "Famen" the characters Jia Gui performance style. Use opera apprentice relationship research plays performing arts, such as: Zhu Shihui and Ya Fuzoon, "the key to all living creatures," and the South were ugly Mr. Sun Zhengyang successor in Taiwan Chen Qinghe "Famen" is also a proof of both bodies. Inserted in an attempt to unlock the opera clown face when a show buffoonery to the language skills of a professional clown and opera theory, is taken to an oral history interview with its large number of professional artists to perform the actual situation, and then analyzed and summarized, and then obtained from the most common General become the consensus. It discusses the main direction is: How should play its opera clown buffoonery function. Opera clown on the weight and position on the opera stage. Language features used in the opera Pagliacci, verbal logic. Opera clown living in areas such as oral discourse of art.
In addition I also sent to the opera clown artist Xiao Huang Dehua Arts teacher, a better understanding of the performing arts, opera clown face and diverse styles. Also involved in this part of the performing arts practice, also is a witness to the opera on the stage clown gag, is there to depend on its rule. Use the stage language is the most attractive place opera clown, so, from which concludes the opera clown white art. The above is the gist of the thesis.
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Chang, Hsiao Yen, and 張曉燕. "Research of Tian-Han''s traditional Chinese opera." Thesis, 1994. http://ndltd.ncl.edu.tw/handle/70541240960783308562.
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Hsu, Wen-chi, and 許汶琪. "Research On Chen Xiao Tan’s ” Chinese Opera Monthly”." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/h629cx.
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碩士<br>國立中央大學<br>中國文學系<br>102<br>“Chinese Opera Monthly” was published by Mr. Chen Xiao Tan alone from 1977 to 1990 when was the transition of Taiwan society and Peking Chinese opera. “Chinese Opera Monthly” was the witness of that period and the articles gazetted included diversified contents and opinions. On the process of the transition of Peking Chinese opera, contributors of articles kept revising and reviewing their own opinions. However, “Peking Opera is a profound art” is the unquestionable and unchangeable prerequisite. Under the prerequisite, “Chinese Opera Monthly” always took a conservative attitude to respond the reforms in the stage of transition.
“Chinese Opera Monthly” can be classified to “discussion of Peking Opera arts”、“reports of Peking opera activity”、“comments of Peking opera performances ” and “comments of Peking opera environmental”. Articles gazetted in “Discussion of Peking Opera Arts” recorded the most glorious period of Peking Opera. The elegant figures of those famous actors were stayed with fans who flied overseas to Taiwan. Therefore, the pith and marrow of the “Peking Opera” should be brought up to be a benchmark in response to the decline of the “Peking Opera” and to be followed by contemporary actors, opera lists and firm critics.
Though the attitude was slacked off toward the innovation of Peking Opera, “Chinese Opera Monthly” was still a conservative and uncompromising magazine. That’s why the audiences of “Chinese Opera Monthly” and its affections toward “Peking Opera” were still limited.Mr. Xiao Tan Chen dedicated himself to Peking Opera for nothing but love, which remained a trace of simple in the cruel industrial society.
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Kuang, Chieh-Wen, and 鄺介文. "Experimental Chinese Opera Play: Flashing Seasons, Hidden Times." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/82722163989018118114.
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碩士<br>國立臺灣大學<br>戲劇學研究所<br>98<br>The master''s thesis has two parts－the play and the analysis. "Flashing Seasons, Hidden Times" is an original Chinese Opera play. It patterns the mode of Yuan Drama ,consisting of one prologue and four sections. With four sections and one epilogue, the play threads four stories which happened in spring, summer, autumn and winter, connecting four women who suffered unspeakable loneliness from different situations. Seasons are flashing and time is hidden, while four stories were assembled in the epilogue. Seasons change on laws of nature, but how hard it is for women to reveal their heavy hearts! The analysis is divided into seven sections. In addition to preface and conclusion, it discusses the origin of writing, the arrangement of the plot, space-time in the story, and inner secrets of four main characters, attempting to review the whole process of the writing.
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Yuan, Chiou，Dong, and 邱冬媛. "The Characters of the Traditional Chinese Opera Stage." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/89548751020035741374.
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"Dissonance in harmony: the Cantonese opera music community in Guangzhou." 2012. http://library.cuhk.edu.hk/record=b5549083.
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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。<br>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.<br>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?<br>Detailed summary in vernacular field only.<br>Cheung, Ah Li.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.<br>Includes bibliographical references (leaves 127-133).<br>Abstracts also in Chinese.<br>Abstract --- p.i<br>摘要 --- p.ii<br>Acknowledgements --- p.iii<br>Table of Contents --- p.v<br>List of Figures and Tables --- p.vii<br>Chapter Chapter One --- : Introduction --- p.1<br>Introduction --- p.1<br>Contribution --- p.4<br>Defining Music Community --- p.6<br>Literature Review --- p.8<br>The Ethnomusicological Perspective --- p.8<br>The Socio-cultural Perspective --- p.10<br>The Heritage Perspective --- p.13<br>Methodology --- p.15<br>Participant Observation --- p.17<br>Interviews --- p.19<br>Thesis Structure --- p.20<br>The Romanization of Chinese Wordings --- p.21<br>Chapter Chapter Two --- : History of Cantonese Opera and its Music Community --- p.22<br>Tracing the Roots of Cantonese Opera --- p.22<br>Before the 1900s --- p.24<br>From the 1900s to the 1960s --- p.25<br>From the 1960s to the 1980s --- p.25<br>From the 1980s until the Present --- p.26<br>Background of the Cantonese Opera Music Community --- p.29<br>Differentiating between Yueju, Yuequ and Yuele --- p.33<br>The Music Community in Guangzhou --- p.35<br>Chapter Chapter Three --- : The Amaterus - The “Happy“ Ones? --- p.38<br>General Description --- p.38<br>Primary Informants --- p.39<br>The Sunshine Cantonese Opera Troupe --- p.40<br>The District Workers’ Association Cantonese Opera Troupe --- p.41<br>The Evergreen Cantonese Opera Troupe --- p.43<br>What is “Sifoguhk“? --- p.44<br>Hierarchies between Amateurs --- p.46<br>The Status of Sifu --- p.47<br>The Musicians’ List --- p.48<br>The Amateur Community as a Whole --- p.50<br>The Invasion of Capitalism --- p.51<br>The “Common Enemy“ --- p.53<br>Summary: Are they truly the “happy ones“? --- p.56<br>Chapter Chapter Four --- : The Professional Musicians - The Dream Chasers --- p.58<br>General Description --- p.58<br>“The Cantonese Opera Music Boulevard“ --- p.58<br>Primary Informants --- p.60<br>The New World Hotel --- p.61<br>The City Grand Hotel --- p.62<br>Tensions within the Community --- p.63<br>Competition between Tea Houses --- p.64<br>Relationship between Musicians, Singers and the Audience --- p.67<br>The Professional Music Community as a Whole --- p.70<br>The Rural-City Melting Pot --- p.71<br>The Changing Market Demand --- p.73<br>Summary: What is the Shared Dream? --- p.76<br>Chapter Chapter Five --- : The National Experts - The Heritage Preservers --- p.78<br>General Description --- p.78<br>The State’s Theatres --- p.79<br>Primary Informants --- p.82<br>The Guangzhou City Cantonese Opera Troupe --- p.83<br>The Cantonese Music and Folk Art Troupe --- p.84<br>Categorizing Musicians --- p.85<br>The Yueju and Yuequ Distinction --- p.86<br>The National Ranking System --- p.88<br>The Power of the State --- p.91<br>The Institutionalization of Folk Art --- p.92<br>The Nationalization of Local Art Form --- p.94<br>Summary: The Heritage Preservers --- p.97<br>Chapter Chapter Six --- : From Art-form to Uni-form --- p.99<br>Introduction --- p.99<br>The Composition of the Community --- p.101<br>The Characteristics of the Community --- p.106<br>Segregation within the Community --- p.110<br>Summary --- p.115<br>Chapter Chapter Seven --- : Conclusion --- p.118<br>Bibliography --- p.127
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Hou, Kang-pen, and 侯剛本. "Chinese Opera in Taiwan’s Chinese Culture Renaissance Movement:A Historical Deconstruction by Rhetorical Vision." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/84480888076353796823.
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博士<br>世新大學<br>傳播研究所(含博士學位學程)<br>103<br>In 1949, Beijing Opera was following the KMT (Chinese Nationalist Party) into The Taiwan passing through 65 years until now, during the intervening years, it had been happen to a cultural political movement names to “Chinese Culture Renaissance Movement”(from Nov. 12 1966 to Mar. 28, 1991), this movement accelerated Beijing opera growing more strengthen and toward to while new fresh (Beijing opera) performing style different with original (Beijing-stylish and Shanghai-stylish) in Taiwan.
Looking back to shaped about this movement means to against “Cultural Revolution” (from May. 16, 1966 to Oct. 6, 1976) aggressively to “Destroy the Four Olds and Cultivate the Four News” in Mainland China. Meanwhile, comparing with miserable situation of traditional Beijing Opera in Mainland; The other side in Taiwan, the governor (Chiang Kai-shek) takes to inverse operation to rising Beijing Opera going to be “Chinese Opera” (symbol of the national type of drama) and offering abundantly resources to heavily promote it.
According to this research, it will use to historical study, depth interview and triangulation methods to configurative rhetorical vision the ecology of Beijing Opera in Taiwan, furthermore, exploring the possibility created to the newborn regional aesthetic stylish of “Taiwanese-Beijing Opera” 21st century in the future.
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Zhou, Hao. "Application of 3D facial animation techniques for Chinese opera." Thesis, 2003. http://spectrum.library.concordia.ca/2284/1/MQ83926.pdf.
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Among China's rich cultural heritage is Chinese opera, a kind of folk art that combines singing, reciting, acting and dancing. Over more than 13 centuries, varied styles have evolved--the more famous being Beijing opera, Yue opera, Huangmei opera, Kunqu opera and Sichuan opera. In the 20 th century with the popularity of movies and pop music, Chinese opera underwent a serious decline and some of these styles are on the verge of extinction. Recognizing this, in May 2001, UNESCO proclaimed Kunqu opera as one of the 19 "Masterpieces of the Oral and Intangible Heritage of Humanity". The Chinese government has also taken many initiatives for preserving and recording this art form, primarily using more conventional media like text, photographs, illustrations, sound, film and video. In this thesis we propose the use of 3D computer animation techniques for the same purpose. More specifically, since exaggerated facial expressions and falsetto singing are distinguishing aspects of this art form, we have experimented with application of 3D facial animation techniques first. (Abstract shortened by UMI.)
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Hui-Feng, Huang, and 黃慧芬. "Research On Taiwan Television "Chinese Opera Club"(1963~1988)." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/y279j7.
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碩士<br>中國文化大學<br>戲劇學系<br>100<br>The Chinese opera program broadcasted in 1962 on Taiwan television. It’s the first time when Chinese opera combined with television media. The Chinese opera program to take shape on Taiwan television because it’s the formation of society and its political background. Taiwan Television Chinese Opera Club recruited the modern elite actors, they have more influence on that time of the opera.
The author oriented to the first-hand information of the " Chinese Opera Monthly” in 1962 and 1976," TV Week " in the 1977 to 1988. Reference to related works and The Taiwan Television Chinese Opera Club left audio, video data and directed interviews with important actors of the year has been involved in the Taiwan Television Drama Club performances, including: Xu Lu, Xu Yu-lan, Zhu Jinrong. Narrative from the time of Taiwan Television Chinese Opera set up to the dissolution of the whole story and from space described the overall architecture of Taiwan Television Chinese Opera, including the artistic qualities in the script, actors, clothing, music, makeup and stage.
The media of Chinese opera in Television and Chinese opera on stage is different. Although, Taiwan Television Chinese Opera Club maintain the traditional Chinese Opera performances, but it still made a lot of changes to Chinese Opera combined with the television media. Left a lot of wonderful repertoire and Chinese Opera’s another appearance.
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WU, YI-PEI, and 吳怡佩. "A Study of “Fenduan” in Yuan Dynasty Chinese Opera." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/74s923.
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碩士<br>國立屏東大學<br>中國語文學系碩士班<br>105<br>The theme of this study of fenduan was born from combing through the 12 volumes of the Complete Plays of the Yuan Dynasty. The Explaining Graphs and Analyzing Characters （Shuowen Jiezi, Chinese character dictionary） defines fen as a person wearing makeup. However, in Beijing dialect the meaning of fen expanded into salaciousness and obscenity. Duan means piece or, in this context, stage play.
In the study of Chinese drama nowadays, fen is used to refer only to fen songs and fen drama without the meaning of salaciousness and obscenity. Therefore, in this study of Yuan Dynasty Chinese opera song lyrics and narrations without the implication of salaciousness and obscenity, the author uses the term “fenduan” to mark the distinction.
Pornographic works may be found frequently in Chinese literature. In this literary context, Yuan Dynasty Chinese opera also included fenduan, which represent playwrights’ moods and the dramatic changes in Yuan society.
Against this backdrop of early fenduan, this study investigates the reasons behind the emergence of fenduan in Yuan drama repertoire by reviewing the interrelated factors of the venues, playwrights, and audiences.
The study also explores the content of the most prolific fenduan playwrights in Yuan Dynasty Chinese opera, analyzes the types of these pornographic plays, and attempts to understand the usage of these pornographic plays. Finally, this study analyzes the roles, languages, and performance styles in these pornographic plays from an artistic perspective to develop an understanding of the value of fenduan plays in Yuan Dynasty Chinese opera.