To see the other types of publications on this topic, follow the link: Opera study.
Dissertations / Theses on the topic 'Opera study'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Opera study.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Marx, Hannelie. "Narrative and soap opera a study of selected South African soap operas /." Diss., Connect to this title online, 2007. http://upetd.up.ac.za/thesis/available/etd-05192008-162153/.
Full text
2
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.
Full text
3
Bay, Muhammet Fatih. "Study Of Electron Identification In The Opera Detector." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609649/index.pdf.
Full textAbstract:
The OPERA experiment is designed to perform first direct observation
of $nu_{tau}$ appearance in an almost pure $nu_{mu}$ beam. The
OPERA detector is a hybrid set-up which combines a lead/emulsion
target with various electronic detectors. It is located in Gran
Sasso Laboratory (LNGS), 730 km away from CERN where neutrino beam
is produced. A good electron identification in the ECC brick would
also allow OPERA to search for $nu_{mu}rightarrownu_{e}$
oscillations. We have studied electron identification in the
Emulsion Cloud Chamber (ECC) brick which was exposed to CERN SPS H4
electron beam. Emulsion scanning was performed in LNGS scanning
laboratory. FEDRA framework was used for the data analysis. In
total, we have found 30 electron showers in the brick. The
characteristics of each shower have been studied. The background
base-track contamination in the shower was estimated as $20pm 4$.
This is mainly due to shower overlap of electrons and passing
through cosmic rays.
4
Rojas, Rajs Maria Teresa. "Telepresence learning environments for opera singing, a case study." Doctoral thesis, Universitat Politècnica de Catalunya, 2012. http://hdl.handle.net/10803/125029.
Full textAbstract:
The present study analyzes the data obtained in the execution of the Opera eLearning project, a multidisciplinary effort to develop a solution for Opera singing distance lessons at the graduate level, using high bandwidth to deliver quality audio and video experience that has been evaluated by singing teachers, chorus and orchestra directors, singers and other professional musicians. The research work includes the phases of design, execution and evaluation of pilot tests, followed by further development and execution of several experimental exercises with the system, all of them carried out between July 2008 and April 2009. This is an empirical research, an exploratory case study that has provided enough data to arrive to a sustainable model for a telepresence learning environment. Different usability methods have been implemented in order to assure users of the quality of the product. The main objective is to prove whether the system or artifact proposed can be used to deliver a complete remote singing class at a higher education level; for that purpose, we have defined several research categories that describe the usability of the system in multiple dimensions. We have used “design as research” approaches to promote innovation in the technological area. The theoretical framework is based on a wide variety of fields; from acoustics, physics, music, professional singing to telecommunications and multimedia technology. However, the common thread and central issue under analysis is distance education, through the construction of a remote learning system. We have also included the corresponding justification of the scientific methodology employedEl presente estudio analiza los datos obtenidos en la ejecución del proyecto Opera eLearning, un esfuerzo multidisciplinario para desarrollar una solución que permita dar clases a distancia de canto lírico a nivel de educación superior, utilizando conexiones de banda ancha con el fin de proveer una experiencia de vídeo y audio de calidad, la que ha sido evaluada por profesores de canto, directores de coros y orquesta, cantantes y otros músicos profesionales. El trabajo de investigación incluye las fases de diseño, ejecución y evaluación de las pruebas piloto, seguido del posterior desarrollo y ejecución de varios ejercicios experimentales con el sistema, todos ellos efectuados entre Julio de 2008 y Abril de 2009. Esta es una investigación empírica, un caso de estudio exploratorio que ha obtenido datos suficientes como para definir un modelo sostenible de entorno de enseñanza por telepresencia. Diversos métodos de usabilidad fueron implementados con el fin de asegurar a los usuarios la calidad del producto. El objetivo principal es probar si el sistema o artefacto propuesto puede ser usado para realizar de modo remoto una clase completa de canto lírico a nivel de educación superior; con tal propósito, hemos definido varias categorías de investigación que describen la usabilidad del sistema en múltiples dimensiones. Hemos utilizado el enfoque de “diseño como investigación” para promover la innovación en el área tecnológica. El marco teórico se basa en una amplia variedad de campos; desde la acústica, la física, la música, el canto profesional hasta las telecomunicaciones y tecnología multimedia. Sin embargo, el hilo común y tema central bajo análisis es la educación a distancia, ya que se trata de la construcción de un sistema de aprendizaje remoto. También se he incluido la justificación correspondiente a la metodología científica empleada.
5
Stanek, Mark C. "Guitar in the opera literature : a study of the instrument's use in opera during the 19th and 20th centuries." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285408.
Full textAbstract:
This dissertation is a study of the use of guitar in opera. Ten operas were chosen from the early nineteenth century to the middle of the twentieth century as a representative cross section of operas that use the guitar. The operas studied are: The Barber of Seville by Gioachino Rossini, Oberon by Carl Maria von Weber, Don Pasquale by Gaetano Donizetti, Beatrice and Benedict by Hector Berlioz, Otello and Falstaff by Giuseppe Verdi, La vida breve by Manuel de Falla, The Nightingale by Igor Stravinsky, Wozzeck by Alban Berg, and Paul Bunyan by Benjamin Britten. The study examines the technical aspects of each guitar part and how the guitar relates to the libretto and to the other instruments of the orchestra.The study finds that, with some exceptions, the guitar parts are idiomatic and not difficult to execute. There is some need on the part of the guitarist to edit the parts for technical and historical reasons and editorial suggestions are made by the author. The guitar is often related to the libretto and often appears onstage, yet it is almost always used as a prop and the performing guitarist is placed offstage or in the orchestra pit. There are significant problems found concerning the guitar's lack of volume. Composers tend to limit the number of instruments in use with the guitar. They do not, however, tend to give the guitar louder dynamics when other instruments are used at the same time. The guitar is generally used in outdoor scenes, to evoke a folk idiom, or when specifically referred to in the libretto. The use of the guitar is found to be mostly limited to simple accompaniments which do not utilize the full resources of the instrument.School of Music
6
Williams, Jonathan Huw. "Jean-Philippe Rameau's Anacreon (1754) : a critical study and edition." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389613.
Full text
7
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.
Full text
8
Grossman, Anna Libbie. "Identity Unknown: A Study and Performance of Interactive Rock Opera." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1340296546.
Full text
9
Branstetter, Leah Tallen. "Angels and Arctic Monkeys: A Study of Pop-Opera Crossover." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1249493305.
Full text
10
Ma, Doog-Hoon. "Production of television drama serial : case study of YTV Emmerdale and MBC Chunwon." Thesis, University of Leeds, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364896.
Full text
11
Hamilton, Kenneth. "The opera fantasias and transcriptions of Franz Liszt : a critical study." Thesis, University of Oxford, 1989. http://ora.ox.ac.uk/objects/uuid:021d129f-3b6d-4a55-893c-ba92ea853653.
Full textAbstract:
The traditional division between "original" and "arrangement" is impossible to sustain for most of Liszt's oeuvre. By virtue of the amount of original creative thinking displayed in his finest operatic fantasies and transcriptions they deserve as detailed a study as any other group of works. Our knowledge is deficient even with regard to identification and dating; the Fantasia on Le Nozze di Figaro and Don Juan is unknown in its original form, while the Fantasia on Il Giuramento has remained unidentified. All of Liszt's works share the same improvisatory approach to composition. Both original and operatic themes are found in his sketchbooks, although sketches of larger sections of the fantasias are rare. Many operatic pieces originated hi concert-improvisations before being committed to paper. Thereafter they were subjected to a process of revision that frequently continued after publication. The operatic fantasias of the 1830's and 40's illustrate Liszt's episodic treatment of musical form, with an indulgence in short-range harmonic effects and little concern for overall tonal planning. Some techniques of thematic metamorphosis and transition anticipate features of Liszt's Weimar compositions, and the roots of his fondness for concluding apotheoses can be clearly seen, particularly in the Fantasia on Der Freischütz. The fantasias and transcriptions vividly illustrate the course of Liszt's compositional and pianistic development, from early precocity through mature mastery to late austerity. The influence of Thalberg can be detected as the motivation for Liszt's return to the operatic fantasia after a hiatus of several years, although he did not adopt aspects of Thalberg's piano style until 1839. His finest fantasias from the years 1839-43 are characterised by bold virtuosity, compositional ingenuity and a striking attempt to encapsulate the dramatic course of an opera within the confines of a fantasia. As operatic pieces formed a large part of Liszt's concert repertoire until 1848 they were almost invariably based on operas of proven popularity. A more innovative and altruistic choice of material is evident only from the beginning of the Weimar period.
12
Kopp, James Butler. "The drame lyrique : a study in the esthetics of opera-comique, 1762-1791 /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37121918q.
Full text
13
Lourenco, Antonio Jose. "Augusto Machado’s “La Borghesina”: A Study and Critical Edition." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1123839643.
Full text
14
Lerner, Lindomar Linos. "A Study of the Systematic Use of Themes and Motives." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/193810.
Full textAbstract:
Antonio Carlos Gomes (1836-1896) is considered one of the most important Brazilian composers and was the first New World composer whose work was accepted in Europe. His opera Fosca, though, was never discussed in depth and should be recognized as an important work in the history of the nineteenth century Italian opera for its skillful use of themes and motives. The Brazilian composer and musicologist Mario de Andrade presented a study of the principal themes in 1936, in commemoration of the centennial of Carlos Gomes' birth, but there is no record of a thorough study that shows the magnitude of Carlos Gomes' application of his motivic and thematic technique in this work.In this document, the author identifies the principal themes and motives, and demonstrates how the composer systematically used them to enhance the drama and lend coherence to the work as a whole. Gomes, in Fosca, used the technique to such extent that every major character in the opera has a minimum of one theme related to him or her. The leading role Fosca has many themes to represent her different feelings throughout the opera. There are also themes representing specific feelings between two people, and themes related to the chorus as well. Gomes uses his themes to contribute to the drama as active psychological elements and not simply as ornamentation.The recurring themes in Fosca are easily heard and recognized, but this does not mean that Gomes used them in a rudimentary or merely mechanical manner. Gomes' simplicity proves to be a useful tool in ensuring musical and dramatic continuity, offering us an idea of his broader goal as a musical dramatist.
15
di, Ferdinando Donato <1969>. "Experimental study of neutrino interactions in the opera-like emulsion cloud chambers." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2007. http://amsdottorato.unibo.it/332/.
Full text
16
Cranmer, David John. "Opera in Portugal 1793 - 1828 : a study in repertoire and its spread." Thesis, University of London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265063.
Full text
17
Shao, Luyin. "A STUDY OF ACCULTURATION IN CHINESE-MONGOLIAN ER’RENTAI FOLK OPERA." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/94.
Full textAbstract:
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.
18
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.
Full text
19
Ranan, David. "The management of public subsidies for opera : comparative study of decision-making and proposed model for public opera funding bodies in Britain and Germany." Thesis, City University London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.393984.
Full text
20
Stauffer, Kristen K. "Mahler's Tristan, A Documentary Study of Reception." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935778/.
Full textAbstract:
Conductors are oftern associated with a specific body of work in their repertoy. Gustav Mahler's conducting repertory contained some major Wagnerian works, including Tristan und Isolde. Mahler's first performance of Tristan took place during his tenure at the Stadttheater in Hamburg (1891-1897). It remained an integral part of his repertory through his tenure at the Vienna Hofoper (1897-1907), and was one of eight works he conducted at New York's Metropolitan Opera (1907-1910). This study includes a brief history of Mahler's education and a description of his conducting style characteristics. It traces the reception of Mahler's production of Tristan from Hamburg to New York, and focuses on his performances at the Hofoper and at the Metropolitan Opera. Sources used to determine performance changes he made include letters, personal reminiscences of friends and critics, and newspaper and journal reviews.
21
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.
Full textAbstract:
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
22
Han, Chang-Yun, and 韓昌雲. "Study of "Xe Wu Kuan" in Kuan-Opera and Beijing-Opera." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/15444727729813048362.
Full textAbstract:
碩士國立臺灣大學
戲劇研究所
86
"Xe Wu Kuan" was written in Ching Dynasty, and its author, Ju Su Chen, was considered one of the member in Su Chou Playwright Group. Lasting for two hundred years from then on, "Xe Wu Kuan" was playing widespread on the stage of Kuan Opera in the form of the "complete whole play". This paper is about the significance and various adaptions of "Xe Wu Kuan", discussing how the Chinese Drama developes its new way in text and in performance, while reserving the old tradition at the same time.
23
ZHI-HONGXU and 許志鴻. "Modern Taiwanese Buddhism opera study." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/43920187550753018099.
Full textAbstract:
碩士國立成功大學
台灣文學系
103
A launch about the official beginning of “Modern Taiwanese Buddhism Opera” is “Emperor Liang Repentance” which Holo Taiwanese Opera Troupe adapted from Buddhist scriptures in 2007. Before the play “Emperor Liang Repentance”, the element of immortal gods which appeared in “gods play” was widely used in Taiwanese opera. The performance areas of outdoor Taiwanese Opera are always temples, temple fairs and other ritualistic fields. When Idolatrous performances, actors would perform the Eight Immortals or Sansen for expressing gratefulness to Gods, this kind of performance is provided with ritual. With temple fair show, the performances of outdoor Taiwanese opera are obtained materials from the story of deified history or immortal elements for extending the plot of a play. Whether outdoor or inside, Taiwanese opera is quite familiar with using religious themes, and maintained absolute independence space for traditional opera. Traditional opera is not overridden by religion. When watching “gods play”, audiences would not feel the pressure of religious indoctrination. From the actors' interpretation, audiences naturally acquired the spirit of Taoism. Through analyzing the current “Taiwanese Buddhism opera” performing arts, theme selection and interpretation techniques, and focusing on analysis of repertoire, and literature auxiliaries of related scholars, this research provided some suggestion for “Taiwanese Buddhism opera”, to make appropriate interpretations and to maintain the independence of traditional opera when confronted with religious subjects.
24
Tang, Yi-ying, and 湯怡盈. "A study of two italian verismo opera classics─ Mascagni’s opera “Cavalleria Rusticana” and Leoncavallo’s opera “I Pagliacci”." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/76510706634399585269.
Full textAbstract:
碩士東吳大學
音樂學系
93
Research of Italian Verismo halts at the 1960s and then resumes till seventies and eighties, when some of musicologists proposed some thesis of more importance. Among them, Italian Opera in Transition (Jay Reed Nicolaisen, 1977) is a more important and relevant one. Inside the article there is a detail description about the movement and changes of Italian operas of late nineteenth century. It also mentions various different meanings about the term “Verismo.” Verismo: from Literature to Opera (Matteo Sansone, 1987) mainly focuses on those adapted from verismo literature and emphasizes Mascagni’s Cavalleria Rusticana and Giordano’s Mala Vita by analyzing the relation between Literature Verismo and Opera Verismo. Realism in Nineteenth-Century Music (Carl Dahlhaus, 1985) also makes a special discussion about Italian Verismo Opera, while in terms of Aesthetics. Chapter one to three discuss via a view of historic development. Chapter one analyzes the social background, social environment and mainstream spirits of late nineteenth century to early twentieth century. After that is the analysis in the perspective of the development of Literature Verismo: Realism→ French Naturalism→ Italian Verism. Chapter two makes a discussion about the development process of Opera. In Italy, traditional Italian opera has already reached a high after Verdi. Under this circumstance, young composers sought for new inspirations and trial of new themes. At the same time, Italian publisher also introduced French opera and hold several composition contests, hoping that it would encourage young artists to create new pieces. Influences of Verismo exist in many kinds of art, and opera is no exception. This thesis works on the developmental process of verismo opera and the change of its style by using comparison and analysis of topic-selecting trend of contemporary composers and their background. Chapter three reaches the main part of this thesis─ Cavalleria Risticana and I Paggliacci. In chapter three, it organizes the composing process of composer and the background back then. Chapter four and five compare these two operas. Chapter four analyzes their libretti and using the way of induction to collect the way of thinking and the arrangement of the whole story’s structure of both playwrights and composers. Comparison is in the last section of this chapter. Chapter five is the musical analysis of these two operas, such as music structure, melody, harmony, orchestration, chorus, and ensemble; it is also the most important part of this work. After the comprehensive analysis, what resides in the last section is the discussion of singing style of Verismo.
25
Smith, Donnalee. "Examining the Canadian Opera Company's role in opera education in Ontario schools, 1950-1990." 2004. http://hdl.handle.net/1828/738.
Full text
26
Chang, Yua-Hua, and 張育華. "Performer''s Craft of Traditional Opera: A Study on Kunqu and Peking Opera." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/398tsy.
Full textAbstract:
博士國立中央大學
中國文學研究所
97
The body of actor is either the foundation of theatrical action or the embodiment of character’s soul. Both Oriental and West stage practice emphasis on the expression of actor’s body. However, the heart of Chinese theater undoubtedly rests on performer’s craft. The stage techniques of traditional opera performers transform inner choreographic cultivation into every step of stage presentation. The stage technique discussed in this thesis refers to an integrated presentation of the artistic accomplishment of performers, which is based on formalized action, by means of inherited trainings and embodiment of characters. It involves major issues such as the rational exploration of acting principles and the sensible understanding of aesthetic quality in searching for universal value of theatrical performance from traditional artistic accomplishment. That is to say, the versatility of stage technique of traditional theater reflects the mature representation of traditional theatrical culture. The methodology of this thesis intends to juxtapose performing theories and stage practice. Focusing on “stage technique”, there are seven aspects: theoretical study, training methods, exemplary figures, modes of expression, development, stage practice, experience application. By the search for the essence of cultivation of performers I would like to sketch out the innermost artistic nature of traditional theatrical craft.
27
Chang, Ya-Lan, and 張雅嵐. "The Study of Janáček Opera-Jenůfa." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/00916650902903066299.
Full textAbstract:
碩士國立中央大學
藝術學研究所
95
This paper mainly discusses the important opera《Jenůfa》of Czech composer Loeš Janáček (1854~1928).《Jenůfa》is the first prose style opera in Czech history, which was composed by Janáček based on《Její Pastorkyňa》written by Gabriela Preissová (1862~1946). Romanticism, verismo, and folk elements are regarded as the most important ingredients in this opera. Besides these ingredients, Janáček integrated “speech melody” to complete its uniqueness. It took ten years for Janáček to complete the composition of《Jenůfa》and performed the debut in Brno. With great success in Brno,《Jenůfa》however was barricaded from performing in Prague for 12 years because of personal conflicts in between Karel Kovařovic and Loeš Janáček. After《Jenůfa》 was performed in Prague, Janáček was getting more famous which enhanced his confidence of composing more operas, and became a significant composer with great influence accordingly. In this paper, the first spotlight casts on Loeš Janáček and his music, the composition period and performance, as well as the revision history of 《Jenůfa》. Then, analysis and summary of the features of《Jenůfa》is another focus. Last but not least, the positioning of 《Jenůfa》and Loeš Janáček, the relationship between speech melody and the opera originality are concluded.
28
CHIN, YU YU, and 游宇菁. "A Study of The Beggar's Opera." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/14008963822548947375.
Full text
29
CHUANG, YU-JUN, and 莊雨潤. "A Study of Combination of Taiwanese Opera with Musicals——A Case Study of Sunhope Taiwanese Opera Troupe." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/33edb3.
Full textAbstract:
碩士國立臺北藝術大學
傳統音樂學系碩士班
107
Taiwanese Opera is currently one of the most active traditional theatres in Taiwan, which is formed in the late Qing Dynasty. Musical theatre, also known as Musicals, contains the composing of singing, dancing for acting plays. Taiwanese Opera and Musicals are often compared due to their similarities, however their inner essences are different. The Sunhope Taiwanese Opera Troupe, which is a professional troupe, established in 1995 at Kaohsiung. They have some works which compose the characteristics of Taiwanese Opera and Musical including, Bai Xiang Lan (2010) , Thanks for My Imperfect Life (2012), Jiumo Luoshi (2013), The Last Drama of Tian Du Ban (2014) , You Never Know (2015) , WHO AM I (2016) , Abruh! Reborn for Love (2017). I study these 7 plays as examples for the combination of Taiwanese Opera and Musicals, by studying all the past works, statistics and analysis of tunes, interpretation of directors and actors, and coordination between music designer and tune arrangement of Taiwanese Opera, which I have arranged the result of my research into four main parts: The comparison between advertising headline and actual performance, the background and effect of the combination of Taiwanese Opera and musicals, the affirmation in innovative directions for the group after the joining of musical director and music designer with background of western composition, and the changes of actors and director.
30
Tseng, Yung-Hao, and 曾泳豪. "Study on Education of Taiwanese Opera Professionals." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/33572156384870428912.
Full textAbstract:
碩士國立臺北藝術大學
建築與文化資產研究所
103
Taiwanese Opera, the local traditional performing art originating in Taiwan, is still one of the most popular performing arts either in major opera house or in small performing booths. Therefore, the demand of young Taiwanese Opera performers is urgent. However, which is the most effective training for performers of Taiwanese Opera has become the main issue. The study surveys the training programs from ancient Court Music officers, Opera Troupe of Family in Ming and Qing Dynasty, to contemporary professional trainings. The cultivation methods of traditional performing art actors, as well such basic requirements as four skills (sing, speaking, figuring, and stage combat or dance) and five means (postures movements of hands, eyes, body, steps, and their techniques), are main theses included. Taiwanese Opera performing styles such as local tour performing, outdoor or theatre performing, air broadcasting, movie and television shows, as well as multiple actor training programs such as family succession, professional troupe training, college programs, official training, and the joining of Peking Opera performers are explored in the thesis. Between traditional performing arts instructors, students, administration and performing community providing funds for training, I chose some interviewees, applying the in-depth interview method to investigate their experiences and ideals of training programs in Taiwanese Opera. Comparing training programs both in past and present, the efficiency between teaching and learning is objectively assessed. At the last section of the thesis, I explored the ways to break through the limitation of traditional performing arts education, discussing the application of on-the-job digital learning methods such as MOOCs for Taiwanese Opera employees.
31
Huang, Hsiu-Wan, and 黃琇琬. "Study on aesthetics experience of Taiwanese opera." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/91203766061530123260.
Full textAbstract:
碩士康寧大學
休閒管理研究所
104
Since 1973, researches of Taiwanese opera seldom focus on its marketing. If Taiwanese opera troupes still adopt the old mode of negotiation with Temples Committee at temple gate or try to get subsidies from government sector but fail to emphasize on audience expansion, marketing and promoting, they will inevitably come to an end as a result of loss of audiences. In 2003, The National Culture and Arts Foundation (NCAF) became the first one to pay attention to the weakest parts of Taiwanese opera-marketing, planning and implementing. During participation in the “Taiwanese opera project” of NCAF, the troupes have learnt the method for expanding marketing resource network. Therefore, it is expected that Taiwanese opera troupes can find out appropriate marketing direction and try best to continuously make Taiwanese opera as people’s entertainment. This study focuses on investigation of aesthetics experience of Taiwanese opera. By literature review and expert questionnaire design, five dimensions and nineteen criteria of aesthetics experience of Taiwanese opera are generalized. Purposive sampling is used to select five troupes which once participated in the “Taiwanese opera project” of NCAF. Survey via visit and questionnaire is conducted among production teams and administrative staffs of these troupes. Then, DEMATEL（Decision Making Trial and Evaluation Laboratory） is used to analyze influential factors between dimensions and between criteria. Analysis results show that “entertainment” is the overall influence source that affects other aspects. Among criteria of the aspect “product knowledge”, “knowing Taiwanese opera” is the overall influence source. Among criteria of the aspect“joy”, “feeling of decompression and relax” is the overall influence source. Among criteria of the aspect “discussion behavior”, “topic discussed” is the overall influence source. Among criteria of the aspect “life value”, “important leisure” is the overall influence source. Among criteria of the aspect “enthusiasm”, “recognition as popular interest” is the overall influence source. Based on above results, following suggestions are proposed: creation objective should be definite; design of the story should increase the joy of the opera; create topics and continuously keep the topics hot; popularize the arts of Taiwanese opera; get like-minded audiences together by means of fans club and internet forum. The author hopes that results of this study can be used as references for promoting and marketing of aesthetics experience of Taiwanese opera troupe.
32
Hsieh, Chia-ling, and 謝佳玲. "Cultural Performances of Hakka Opera Troupes: The Case Study of Three Hakka Opera Troupes in Hsinchu." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/20437970587529671295.
Full textAbstract:
碩士國立中央大學
客家社會文化研究所
98
This research explores the performances of Hakka Opera troupes with the concept “cultural performances”. In this thesis, I will discuss how Hakka Opera troupes perform in folk festivals and cultural activities. By analyzing performing fields of troupes and the viewpoints of performers, the goal of this research is finding the cultural characteristics displayed by the performances of Hakka Opera troupes. In this research, I use the way of anthropological fieldwork and choose three Hakka Opera troupes in Hsinchu as my target groups for the case study. The participant observation method is used, and I get acquainted with the troupes. During the fieldwork, the performances are recorded by camera, video camera, and journals with details of the performing activities. Besides the field study, I made in-depth interviews with performers of these troupes to understand their thoughts about performing on stage. After that, I used the data collected from the fieldwork and interviews to analyze about the cultural performances of Hakka Opera troupes. Through the observation of performances and the performers’ viewpoints, I found that these Hakka Opera troupes have gone through the change of performing fields from folk festivals to cultural activities. Originally, the performers perceive their performances as only “Zo-da-xi”(traditional big scale opera for the god) in local folk festivals. As the stage switching to the cultural activities, they started to regard their performances as “Hakka Opera,” which means to present their Hakka culture to the public formally. That also means that they begin to care about how to perform on the stage and how to present the Hakka culture properly. In the performing context, most performers agree with that both the tune patterns “Cai Cha” (Tea-picking) and the Hakka language are ways of displaying the speciality of the Hakka culture. It is because that a unique technique of the Hakka opera performance must combine skillfully with the Hakkanese language and music. The performers need to transfer their experience of the everyday life to their performances, which thus could present Taiwanese Hakka people’s life and culture. Apart from using the original Hakka cultural element, some newly emerging Hakka Opera troupes tries to reduce the “Cai Cha” tune patterns in their performance and use the new-composed tune patterns to replace. These troupes lay more stress on the sound and light effects to cause audiences’ attention, which is different from the old Hakka Opera troupes. In fact, this is another performance style of the Hakka opera culture.
33
Hua, Chang Chiu, and 張秋華. "The Construction of Contemporary Hakka Opera In Taiwan：A Case Study on Rom Shing Hakka Opera Troupe." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/05716873238783444503.
Full textAbstract:
碩士國立臺灣藝術大學
表演藝術研究所
98
This study aims at examining “Rom Shing Hakka Opera Troupe” as a case study to understand the contemporary development of Hakka Opera in Taiwan. In this study, I will apply the concepts of “performance context”, “thick description”, “comprehensively aesthetic viewpoint”. I will also ground my analyses on literature reviews, fieldwork materials, play analysis in order to investigate how Hakka Opera has been staged on different fields and how theater practices of “Rom Shing Hakka Opera Troupe” provide cultural actions. First. I use the concept of “performance context” to trace the different Hakka Drama performances in commercial opera theater, in outdoor theater and in modern theater throughout Taiwanese theater history. Second, I apply Clifford Geertz’s “thick description to interpret and analyze how “Rom Shing Hakka Opera Troupe” constructed the discourse of contemporary Hakka Opera through preserving and staging Taiwan San Jiao Cai Cha Xi, building a training system for Hakka’s drama actors, and promoting Hakka’s drama in Taiwan. From this analysis, I want to point out the difficulties and the issues in the development of contemporary Hakka drama. Finally, using the concept of “comprehensively aesthetic viewpoint”, I will discuss the performance of “Rom Shing Hakka Opera Troupe” in modern theater and propose some suggestions for the future.
34
Liang, Chen-Yu, and 梁真瑜. "A Study of Taiwaness Luan-tan Opera Vernacularization." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/37243148147175365002.
Full textAbstract:
碩士國立臺北大學
民俗藝術研究所
97
With its highly legitimacy among dramas, Luan-tan Opera has been widely embraced by Taiwanese people since it was spread to this island from Qing Dynasty middle period. Existing over 60years since Japanese Colonial Period, the vernacularizing of Taiwaness Luan-tan Opera has become a natural and a habitual portion to the local residents when they attend to a theatrical performance, yet the number of the academic study in this field is fairly small. The record of Luan-tan Opera performed by Taiwanese language dates back to Japanese Colonial Period; troupes from the “Xin-mei-yuan beiguan Group” in Tauchung during Post-hostilities Period to the contemporary “Hanyang beiguan Group” stage their plays by the lines that mostly written in the vernacular. The phenomenon that those troupes actively/passively used the vernacular in their usual performance seems to imply their compromise to the environment. The biggest reason why adopting vernacular brings the very big opportunity lies in the tangibility of language itself. On the other hand, the evolution of vernacular comes under the localism awakening and the business advantage influence. The present paper falls within the scope of three historical phases, Japanese Colonial Period, Post-hostilities Period and contemporary relevance; it takes diachronic Luan-tan Opera audio materials in the same play for the research theme, cuts into the angle with vernacularism, attempts to observe the varieties of language changing while these troupes were trying to fit in the environment. These varieties are, namely, the phenomenon of drama language localization. Taiwaness Luan-tan Opera, like some other vanished ones, is facing the difficulty of losing its entertaining function, the only way to reverse it is to change the drama language; however, it’s just a temporary cure for language should be changed from the outside to the inside, rather than from the deep inside and then release it out. To help them, we need to make a resolution which is feasible for their future development by relocating the position it was in public’s memory and by realizing the fact that entertainment and preservation can’t be given dual attention.
35
Lai, Ta-kuei, and 賴達逵. "A study of Taiwanese Opera Hu Qin music." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/38179149700202818625.
Full text
36
Shu-Shen, Tsai, and 蔡淑慎. "A study of singing arts in Taiwanese Opera." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/51066189317906530620.
Full text
37
Hsieh, Hsin-Hsin, and 謝欣芯. "A Study on Béla Bartók's Opera Bluebeard's Castle." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/66017429557347027070.
Full textAbstract:
碩士輔仁大學
音樂研究所
100
During the alternation from the end of 19 century to the early of 20 century, modern music displays a diverse appearance and style, nevertheless, Béla Bartók is still able to create a typical music of Hungary. To find out the most primitive and natural Hungarian music, he dedicates his lifetime to initiatively research and collect folk song, and makes a tremendous contribution to Ethnomusicology. Bartók himself is not only inspired from the folk music, but also benefited in the music creation that has been blending into his life and helping him to create his own music vocabulary later. In Bartók’s compositions, he is primarily basic upon piano works, but his only opera Bluebeard’s Castle should become one of his representative works as a norm of Hungarian opera with unique Hungarian folk style. This thesis on Béla Bartók’s Bluebeard’s Castle as a studying theme to explore the relevant references from his entire lift to music style, and analyze his music and drama, then further to comprehend deeply the significant representation of the opera Bluebeard’s Castle.
38
Peng-XiangLai and 賴鵬翔. "The Study of Gu Xi-Dong's Yue Opera." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/k47srp.
Full textAbstract:
碩士國立成功大學
中國文學系
106
Gu Xi-Dong（1924-2003）, is a famous Chinese playwright. In the past fifty years of his career of Yue Opera, he has released a large number of modern dramas and ancient dramas of Yue Opera. These are representative dramas of Yue Opera. During his leadership of Yue Opera, he advocated many “Xiaobaihua stars” and slao helped Zhejiang Xiaobaihua Yue Opera Troup a lot. Gu Xi-Dong bring a positive effect on the development of Yue Opera in the new era. This thesis begins with his personal life, writer's career, his actions in the field of Three Parallelities in the opera and explore how he made co-performance of man and wemon, combing film and television advertisements with Yue opera and modify the text to make content closer to life. Next, make a comprehensive survey of his modern dramas and ancient dramas. We can see the trace of how political leadership effect a country and the record of Cultural Revolution years, also the daily writing features of women from Gu Xi-Dong’s modern drama. From the ancient drama to see his feelings of the world and human, as well as how he focuses on the creative awareness of Yue opera. At last, focusing on the profit-making strategy of marketing the Xiaobaihua in the 1980s. In order to activate the Yue Opera show and open up the Yue Opera market in China, he made a lot of efforts in the cultivation of drama and promoted Yue Opera by it successfully. Gu Xi-Dong and his works are placed in the context of the development of Yue Opera, summarizing Gu Xidong's important position for Yue Opera. We hope that we can reflect the history of Yue Opera from his life history and reflect the general appearance of Yue Opera from the history of his plays.
39
Hsiao, Hsin-Yun, and 蕭杏芸. "A Study of Opera Characters and Jinghu performance Methods in Zhao Yongshan's Beijng Opera Heitou yu Huadan." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/45515154315376316953.
Full textAbstract:
碩士國立臺灣師範大學
民族音樂研究所
105
ZhaoYongshan’serhu solo composition HeitouyuHuadan was inspired by Beijing opera’s music, as well as music sections from Farewell My Concubine. I seek toexamine the origins of the music material of this composition. This thesis attempts to compare erhu and jinghu. This study will be divided into four parts to review and analyze the composition. First, I will review the literature of HeitouyuHuadan; second, I present the performance practices of jinghu; third, I consider the opera characters and results from the interviews conducted; and finally, drawing on Chun-yi Kao’s thesis, I analyze the opera characters, musicians, and erhu performance to offer a better understanding of the performance practice for jinghu. This research reveals the composition’s original music anddiscusses the opera characters and their singing style. I further analyze the similarities and diffferences of the performace practice between jinghu and erhu. My study concludes by highlighting the characteristics of jinghu, role image, and the dynamics of the drama to demonstrate how the composition presents idea from the Beijing opera and its music style.
40
Chen, Meng-Ching, and 陳孟卿. "The comparative study between Taiwanese opera “seven-word pattern” and Western opera- the case study from Verdi's Aria “Ah, fors'è lui”." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/91777796299818917319.
Full textAbstract:
碩士國立臺北教育大學
音樂學系碩士班
99
Abstract Based on my advisor Dr. Huang Shih-Hsin's instruction, this research was re-titled as “The comparative study between Taiwanese Opera seven-word pattern and Western opera---the case study from Verdi's Aria Ah, fors'è lui”---distinguishable from my original analysis of Verdi's Ah, fors'è lui che l’anima. Owing to my experiences both in teaching music and expanding the native art of Taiwanese opera, Dr. Huang advised me to find out the similarities and differences between the two songs, hoping the art treasure of Taiwanese opera, can brought to greater of heater height of development. The realm of this study is limited within Ah, fors'è lui and seven-word pattern and some issues related to both of them are investigated and discussed. Firstly, starting with understanding of Verdi's life, the author tried to find out what and who influenced him most during his work can be caught. At the end of this thesis, summarizes the history of Taiwanese Opera and its development in modern time by taking an example of my own experiences of the children Taiwanese opera troupe set up in Hsyou Lang Elementary School. Steps taken to do the research： 1. Analysis and explanation to the composition of Verdi's Aria Ah, fors'è lui. 2. Introduction to the melody of song and performance in Ah, fors'è lui. 3. Interpretation and analysis in singing and performing of seven-word pattern in Taiwanese Opera. And finally, comparing the characteristics of these two operas and proposing their similarities and differences are discussed and concluded in this research. Giuseppe Verdi, the famous Italian opera composer in the world, was known for his work La Traviata, which is with great vitality and attraction, and the Aria Ah, fors'è lui is the most favorite part of it. Seven-word pattern is a regular part in Taiwanese opera, which has set form and has to be sung in operatic selection. It might combine with other operatic patterns, due to the changing of dramatic effects. Key Words: Opera, Operatic pattern, Seven-word pattern
41
王淑青. "A Study of Audiences’ Motivation and Satisfaction on Taiwanese Opera----A case of Ming Hwa Yuan Taiwanese opera." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/56799549137128191647.
Full textAbstract:
碩士國立彰化師範大學
美術學系
100
The purpose of this study is to investigate the relationship between audiences’ motivation and satisfaction when they pay out on watching Ming Hwa Yuan Taiwanese opera. This study uses questionnaire survey. The sampling period is from February to March, 2012. Of 560 questionnaires sent out, 489 completed questionnaires were returned. Return rate was 87.32%. The effective questionnaires were 472. Thus, effective return rate was 84.29%. The collected data was analyzed by descriptive statistics, Pearson’s correlation, t-test, factor analysis and ANOVA. The empirical results were described as follows. First, on the demographics analysis, most of the respondents were 40-49 aged female students and housewives, most of the educational level was university, the respondents’ monthly income is under 10,000 dollars, and most audiences spent under 3000 dollars on arts entertainment. Secondly, the top three motivation for viewing the opera were (1) opera troupes’ reputation (2) opera actors’ renown (3) audiences’ interest; while the first three audiences evaluation criteria were (1) opera troupes’ reputation. (2) opera actors’ renown (3) complete equipment （for example, stage lighting, sound effects and stage settings）. Finally, the first three audiences s’ satisfaction were (1) opera troupes’ reputation. (2) complete equipment. (3) performers’ dressing. Thirdly, significant positive relationships were found between motivation and evaluation criteria. For example, actor motivation had significant positive relationships to performers’ distinguishing characteristics. Fourthly, on average, the audiences were satisfied with four constructs, including opera troupes’ arrangements, performers’ characteristics, theatre’s service and troupes’ promotion. Fifthly, on the motivation construct, there were significant differences among different gender, age and educational level. Nevertheless, those whose monthly income was higher than the others were drawn to the opera because of its performances and marketing factor. Sixth, as for the evaluation criteria construct, the audiences whose occupations were teachers and engineers paid more attention on promotion. Finally, on the satisfaction construct, 40-49 aged audiences were more satisfied with theatre’s service than those over 60 aged after they had appreciated the Taiwanese opera performance.
42
Ferguson, Daniel L. "A study of Cantonese opera musical source materials, historical development, contemporary social organization, and adaptive strategies /." 1988. http://catalog.hathitrust.org/api/volumes/oclc/28318477.html.
Full text
43
Chin, Yu Ru, and 秦毓茹. "A Study of Yangzhou Opera in the Qing Dynasty." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/39hes4.
Full textAbstract:
博士國立中央大學
中國文學系
101
Yangzhou, located at the intersection of the Yangtze River and the canals, was a port in the caoyun grain transportation system as well as the center of the salt trade in the Lianghuai region. A transportation hub with a highly developed economy and flourishing salt industry, it also boasted a vibrant arts scene. These conditions, and the presence of the peculiar group that was the Yangzhou salt merchants, provided robust support for operatic theater. In addition, during the southern tours of the Kangxi and Qianlong Emperors, Yangzhou was an obligatory stop on the itinerary. To welcome the emperors, the salt merchants hired famous troupes, actors, singers, playwrights, musical arrangers, etc. from various regions at a premium, thereby introducing many styles of music and drama into Yangzhou and transforming Yangzhou into the southern center of opera. Every type of opera, from the kunqu that was suffering a gradual national decline to the luantan that saw growing popularity, enjoyed its own corner of the wide stage in Yangzhou. This paper, “A Study of Yangzhou Opera in the Qing Dynasty,” is divided into eight chapters: Chapter One, the introduction, describes the impetus for the study and its purpose, and defines the study’s scope and its present state. It reviews and organizes the relevant literature, and discusses the study’s research methods and the paper’s structure. Chapter Two explores and analyzes the favorable conditions for the development of Yangzhou regional theater in the Qing Dynasty. First, it explores the relationship between the Yangzhou salt merchants and the opera culture from the following perspectives: Yangzhou’s geographic and historical environment, economic support from the salt merchants, preparations for Emperor Qianlong’s southern tours, maintenance of opera troupes, construction of performance parks, etc. Next, the chapter discusses the participation of literati, salt merchants, and officials in charge of regulating the salt industry in the opera scene. Finally, the chapter discusses the origins of Yangzhou qingqu, Yangzhou singer-courtesans, and Yangzhou opera, as well as the prevalent musical styles in Yangzhou and the venues for opera performance in Yangzhou during the Qing Dynasty. Chapters Three and Four are organized chronologically and divide the Qing Dynasty into three historical periods: the Shunzhi-Kangxi-Yongzheng period, the Qianlong-Jiaqing period, and the post-Daoguang (Daoguang-Xianfeng-Tongzhi-Guangxu-Xuantong) period. These two chapters explore the performances of “Yabu”and “Huabu” , and catalog the performing troupes, actors, and repertoire. Chapter Five discusses the creation of new operas in Yangzhou in the Qing Dynasty and also divides the Qing Dynasty into three historical periods: the Shunzhi-Kangxi-Yongzheng period, the Qianlong-Jiaqing period, and the post-Daoguang (Daoguang-Xianfeng-Tongzhi-Guangxu-Xuantong) period. It introduces the work of native Yangzhou playwrights as well as transplants, and gives an overview of the subjects of their plays. Chapter Six studies opera criticism by experts of Yangzhou opera in the Qing Dynasty. The most representative of these works are Li Dou’s《Yangzhou Huafang lu》and Jiao Xun’s《Huabu nongtan》. This chapter focuses on these two works and explores their views on opera and their value to opera. Chapter Seven explores the evolution of Yangzhou opera in the Qing Dynasty, including the prohibition on the maintenance of private troupes by officials, the rise of Yangzhou salt merchants’ private troupes, investigations ordered by the emperor, alterations to the operas, Wei Changsheng’s ascent and the prohibition of the Qin style, Jiang Chun’s Chuntai troupe and the rise of huabu opera, and the rise of Yangzhou Hui troupes and their development. The conclusion in the Chapter Eight discusses the questions that arose in the course of researching for this paper, presents my own views, and summarizes the results of the study.
44
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.
Full textAbstract:
碩士國立屏東大學
中國語文學系碩士班
105
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.
45
Chin, Yu-Chi, and 金玉琦. "A Study of Zhu Bian''s Chinese opera stories." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/35510059342111725938.
Full textAbstract:
碩士國立中央大學
中國文學研究所
99
The story of Zhu Bian(朱弁)is still on the stage in Li-yuan Opera(梨園戲). There are many tracks about him in Nan-guan(南管) music also, and it is the story that becomes an important repertory in the theater of Min-nan(閩南). We can find something about Zhu Bian from three versions of Ming(明) Dynasty block-printed editions and two versions of Qing(清) Dynasty transcripts. The story of Zhu Bian is used in proverbs and Taoism oracles which are closely related to daily life and therefore a topic worth researching. This study aims to research the evolution of the relationship between the music scores and the tunes in Ming and Qing Dynasties by comparing the tunes(曲牌) and the lyrics(曲詞).
46
Chien, Hsiu-Yuan, and 簡秀苑. "A Study of " Ming-Chu Girls'' Taiwanese Opera Troup"." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/51975286097163156765.
Full textAbstract:
碩士國立中興大學
台灣文學研究所
97
“Ming-Chu Girls'' Taiwanese Opera Troup” was established in 1960; its antecedent was the “Hsin-Ming-Hsing Taiwanese Opera Troup.” It is managed as a family troupe and has had a nearly 50 year history. Even though its name contains “girls,” male actors still participate in the performances. Since the Council for Cultural Affairs established the “Performance Team Cultivation Plan,” this was the first troupe to receive the Council’s subsidies for traditional theater. It has also received grants from the “National Culture and Arts Foundation” and “National Center for Traditional Art.” For the script “Lotus Weeping Blood – Chen Ching-ku,” won the 2006 Outstanding Script at the Annual National Culture and Arts Foundation of Taiwanese Opera Production and Release Awards; this was an excellent performance. In 2001, after Li Tsu-ming passed away, the troupe was taken over by the current leader Hsu Su-chu. Currently, the performances are still generally connected to local temple festivals; during the day they perform “traditional folk theater”, and at night they perform “opera. theater” Each year, there are over 150 stage performances; of the outdoor stage shows, many are from the indoor stage period. It has performed in different show formats such as outdoor Taiwanese opera, indoor shows, medicine selling troupes, cart and drum short shows, and modern theater. It is also one of the few existing Taiwanese opera troupes renowned for “female roles in Chinese opera.” The lead actress Li Ching-fang learned Bajigong and Tanjigong when she was young, and she has a solid foundation. The family members all serve their roles; the daughter Li Ching-fang and Li Ching-erh have the female theater roles and female martial theater roles, as well as script writer; the sons Lin Ching-feng and Lin Chung-he are responsible for backstage, stage design, and music design. In the eyes of scholars, this is a rising star, like a “bright pearl” that is gradually coming to light. Other than the first chapter introduction and sixth chapter conclusion, the body text is divided into four chapters. The second chapter discusses the origins of Taiwanese opera, performance forms, and organizational management changes over different periods, describing the diversity and comprehensive performance forms of Taiwanese opera. The third chapter is divided into four sections, which summarizes the cart and drum short shows, indoor stage, medicine selling troupe, and modern theater performance forms and characteristics experienced by “Ming-Chu Girls'' Taiwanese Opera Troup.” The fourth chapter is divided into four sections. Personal interviews and oral descriptions are used to document the theater training, performance characteristics, and roles of the troupe members. Also discussed are the production roles of backstage accompaniment, script, direction, lighting, sound, stage design, art design, music design, and props, as well as administrative roles. Chapter five is divided into six sections. The data and oral information are used to summarize and analyze the outdoor stage shows and public performance forms, the numbers performed for outdoor stages and public performances, changes in the performance venue, as well as public performance music design. Chapter six is the conclusion, which first uses the external objective environment and internal subjective conditions to explore the common problems faced by Taiwanese opera troupes. Then, possible directions of future development are considered for the existing intrinsic qualities of “Ming-Chu Girls'' Taiwanese Opera Troup.” Keywords: Ming-Chu Girls'' Taiwanese Opera Troup, Hsin-Ming-Hsing Taiwanese Opera Troup, Taiwanese opera, cart and drum short show, female role in Chinese opera, Li Tsu-ming, Li Ching-fang
47
Mesquita, Hugo Edgar Pinho. "The augmented performer in contemporary Opera : A Case Study." Master's thesis, 2017. https://repositorio-aberto.up.pt/handle/10216/106262.
Full textAbstract:
The practical scope of this dissertation is study the development and implementation, since the creative process of an opera production, wearable technologies on one or more singers/musicians to control certain musical and visual elements on stage in order to analyse and study approaches for DMI development and mapping, data visualisation, real-time voice processing and digital scenography focused on stage-based performances. Furthermore, the project it aims to shed light on methodologies for rehearsing, staging and performing with these technologies.
The technology used is a wearable data glove with pressure sensing and inertial measuring units, communicating wirelessly to a computer system that maps the data onto high-level information to be used with audiovisual software.The proposed device his implemented in a opera, layout out in an conventional way, which introduces wearable technology as a strategy for augmenting it's narrative through the use of audiovisual apparatus. The main objective is to put the technology in function of the narrative and extract an analysis on the advancements of expanding a somewhat conventional production to a multimedia Opera, and study its impact on artists expectations, creativity and performing achievements. We take in account variables such as technological application strategies, production challenges, performing effort and interrelation between performers and digital media.
48
JIANG, YI-ROU, and 江怡柔. "The Life History Study of Shih Wenhu’s Taiwanese Opera." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/47109849766102973750.
Full textAbstract:
碩士國立臺北教育大學
台灣文化研究所
100
The Taiwanese Opera is the Taiwan's only native traditional opera. As its language, performance venues and styles are actively close to the lives of common people, it creates the features of a strong locality and the tough vitality. In the early days, Taiwanese Opera was performed as entertainment and religious functions during the slack farming season and for temple worshipping ceremonies; until today it becomes cultural exhibitions and activities. Taiwanese Opera absorbed the essence of culture in different times and environments, and gradually developed its uniqueness. Shih Wenhu, addressed as “Director Dad”, who involved in the performance and directing plays indoors/outdoors, on radio and television, and at modern theaters during the whole historical development of Taiwanese Opera; in addition to his strong background of Chinese, his position in the development of Taiwanese Opera cannot be ignored. However, the studies focused on Shih Wenhu are scarce; most of them would include simple discussions and analyses as a small part of directors’ research for Taiwanese Opera. Therefore, this study intends to use Shih Wenhu as the research object and explore the relationship between his life history and the development of Taiwanese Opera in order to understand the influence of Shih Wenhu on the development of Taiwanese Opera so as to rebuild the complete history of Shih Wenhu’s Taiwanese Opera. Keywords: Shih Wenhu, Taiwanese Opera, Playwright, Director.
49
Tsai, Yu-Chun, and 蔡毓純. "The Study of PARSIFAL - Wagner''s opera." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/55669734639076969334.
Full textAbstract:
碩士國立中央大學
藝術學研究所
100
ABSTRACT Wilhelm Richard Wagner (1813-1883), regarding as one of the most revolutionary composer of The Romantic Era, had spared no effort on musical creation and operatic reform by issued a great number of theoretical articles and books. Wagner sought to achieved the synthesis of all aspects in opera for expressed his dissatisfaction with those musicians who only compose music. To carry out the ideal, moreover, he established the Bayreuth Festspielhaus (Bayreuth Festival Theatre) which is unprecedented at all times and in all countries not only on its provided particular composer’s works but on the atmosphere Bayreuth Festival Theatre has created. Wagner bestowed the title Buhnenweihfestspiel on his last completed opera Parsifal , tailor-made for Bayreuth Festspielhaus, that showed the two is closely connected and inseparable. Parsifal reached a climax of the musical part and reflected the composer’s feelings on each aspect such as, life, society, philosophy, and religion. As well, the immortal work is worthy of our continued research in the future generations. This proposal firstly includes FOUR parts of all Wilhelm Richard Wagner’s life—Family life, Educations, Love affair and Marriage, Friends and Career. In the career part, I will introduce the establishment of Bayreuth Festspielhaus. In order to give readers the preliminary understanding on composer and on the background of Parsifal, after deal with the composer’s works, I will describe the debut of Parsifal and the right of presentation of the theater before we going into its details which comprise the profound research and analysis of subject matter, characters, plot and music.
50
CHEN, HSIN-YU, and 陳新瑜. "The Preliminary Study on Taiwanese Traditional Opera in 1949." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/35afw9.
Full textAbstract:
博士東吳大學
中國文學系
106
The flourishing, withering, and transforming / rebirth eras of Taiwanese traditional operas all fell within the post-war period. Local traditional operas awakened in the midst of the thirty years post-war (1949 – 1979), from when the nation was awaiting its time to blossom until it was prospering. Within the thirty years, Chinese local operas penetrated through Taiwanese opera market and presented itself on stage through the new immigrants who entered Taiwan along with the National government. The Peking opera dominated the market at the time as it was protected by the cultural policy, whereas the Taiwanese local operas successively encountered its prospering and withering era. Traditional operas went through an important stage of revolution - from deterioration to innovation, since the 1980s. A new traditional operatic art was developed through an intentional multi-cultural reorganization and combination, as well as through cross-cultural and cross-domain cooperation. Hence, the content of this study will surround the post-war development of Taiwanese traditional operas within the 38th and 106th year of Republic (1949 – 2017), targeting the development of local and foreign operas in Taiwan. This study is divided into three series. First being “The Local Opera” series, introducing local operas that are full of Taiwanese essence, such as the Beiguan Opera, Gezaixi (Taiwanese) Opera, Hakka Opera, Chi-zi Opera, Gaojia Opera, Siping Opera, etc. Third being “The Puppet Show”, examining the development of puppet shows, such as the Puppetry, Shadow Play, Glove Puppetry, etc. Based on the progression of history, the formation of contemporary policies and economic trends of the society played a significant role on whether to push forward or to suppress the development of operas. For this reason, the study will conclude on the impact level of cultural policies on traditional operas and the gap between government policy concept and live performance through the power of government cultural policies as well as the observations on tangible changes and the journey of re-adjusting and re-positioning of traditional operas throughout history. In simple words, the three series of this study are to observe changes on operas and development of operatic type through the angle of historic progression and artistic development. To conclude, the study will switch lenses to observe and discuss traditional operas’ progression and changes through the political system and cultural policies. In addition, the study will also discuss the gap between government policy concept and live performance. In all its seemingly complexity, the author hopes that by positioning the history of operas on the longitude, cultural policies on the latitude, history, art, politics, and practicality on the main axis, and by exhausting relevant live performance and literature history information, the study is capable of integrating different point of views and opinions from scholars to achieve four results. First is to integrate the development history of various Taiwanese operatic categories, second is to supplement relevant information on the development of Taiwanese traditional operas after 2000, third is to combine operas, politics and live performance, and last is to analyze the impact of cultural policies on operas’ live performance, in hope that this can clarify the development thread of Taiwanese traditional operas since 1949 and discuss the influence and effect of cultural policies on the development of operas.