Dissertations / Theses on the topic 'Peking opera'

This thesis represents an analysis of symbolic expressions used to convey traditional Chinese cultural values in marital relations as expressed through costumes and lyrics in Peking Opera plays and performances. Two symbols, dragon and phoenix, were selected from the costume collection. Four symbols--bird, tiger, wild goose, and dragon--were selected from compilations of lyrics. These symbols were selected because they expressed Chinese core cultural values, an imperial ideology based on Confucian thoughts, which were practiced rigidly during Qing Dynasty (1644-1911). Modeling Theory is applied to argue that dragon and phoenix as visual symbols convey ideas about characters' background, marital relationship, social status shifts, and socio-culturally desirable values. Social Drama Theory is employed to analyze the lyrics to understand how ideal images of husband and wife are constructed. The archetypes of Chinese traditional culture that have influenced Chinese thought and action for centuries are discovered and discussed.
M.A.
Nicholson School of Communication
Sciences
Communication MA

This research project focuses on the potential relationship between Beijing Opera (the traditional cultural heritage) and computer animation (a modern art form). It responds to the practical problem that Beijing Opera is a national treasure of China with a history of 200 years, but now it is in decline as popular entertainment. Beijing Opera (or Peking Opera) is widely regarded as the highest expression of Chinese culture, being one of the three main theatrical systems in the world. Attempts to keep this traditional cultural treasure alive have varied, including encouraging positive appreciation among young audiences and updating Beijing Opera's artistic style and performance. To further that ambition, this research explores how Beijing Opera's traditional stage performance can be adapted to a virtual stage by computer generated imagery (CGI), also known as computer animation. CGI animation has eclipsed other animation forms and has emerged as one of the most successful film-art forms (Polchat 2007). The resounding success of Toy Story, the first fully computer-generated feature film produced by Pixar (The Walt Disney Company) in 1995 and the following continuous release of breathtaking CGI films by numerous studios in the past decade, informs this project of the potential offered by CGI animation. This research report argues for the possibility of using computer animation to present Beijing Opera.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text

Peking Opera (‘Jingju’) is one of the most iconic traditional theatres in China, marketed as a global signifier of Chinese theatre and national identity. The research considers current recognised illustrations of Peking Opera Painted Faces (POPF). Through both new cultural-based product design solutions and design inspired visual communication solutions, the purpose of the new design is to apply the semantic features of Chinese Traditional POPF to the modern design, and establish close contact with all aspects of social life. Also to promote a series of developable plans including product design, interaction design, system design and service design in China and Western countries proceeding from POPF, along with the integration of other elements of traditional Chinese cultures and arts. *POPF is short for Peking Opera Painted Faces.

Cette étude se propose d’examiner les questions que soulève l'opéra de Pékin contemporain de Taïwan à travers deux exemples : Le Roi Lear mis en scène par Wu Hsing-Kuo et Orlando mis en scène par Robert Wilson. Ces deux spectacles en solo sont fondés sur des textes occidentaux traduits en chinois. Pour mettre en scène ces textes traduits, Wu Hsing-Kuo et Robert Wilson ont eu recours aux conventions et au jeu de l’acteur de l’opéra de Pékin. En dépit d’éléments similaires, les textes scéniques tissés par ces deux metteurs en scène diffèrent profondément. Dans le but de trouver une manière appropriée de décrire et d’analyser ce genre de spectacles métis qui sortent de leur cadre traditionnel, tout en gardant en même temps certains traits spécifiques, nous avons commencé par creuser les conceptions qui sous-tendent la forme de l’opéra chinois. Ensuite, nous avons approfondi les questions liées à la pratique ainsi que ses rapports avec les conceptions esthétiques chinoises. Dans la dernière partie de cette étude, nous nous appuyons essentiellement sur les conceptions développées dans les deux premières parties de cette thèse plutôt que sur les discussions sur la nature du théâtre interculturel pour les chercheurs occidentaux auxquelles se sont déjà référés beaucoup de chercheurs taïwanais. À travers l’analyse des deux spectacles, nous proposons une voie différente pour discuter des représentations « interculturelles », tels que les spectacles de l’opéra de Pékin contemporain de Taïwan, qui échappent aux règles et aux conventions bien établies et qui ne peuvent être jugés selon les standards habituels
This thesis aims to examine the questions suggested by two contemporary Peking opera productions in Taiwan: “King Lear” directed by Wu Hsing-Kuo and “Orlando” by Robert Wilson. These two adaptations are both based on Western masterpieces and each of them is performed by one trained Peking opera actor. Despite the similarities that appear in the works of the Taiwanese and the American director, the results of their experimentations on the stage differ considerably between each other. In order to find appropriate way to describe and analyze this kind of performances based on the fusion of traditional as well as foreign elements, we started by researching the conceptions which associate deeply with the form of Chinese opera. Then, we delved further into the relations between the practice of Chinese opera and the Chinese aesthetics concepts. Finally, we analyzed the two examples, not through the discussions related to “intercultural theater” developed by occidental researchers and commonly referred to Taiwanese researchers, but through the conceptions that we have developed in the last two chapters of this thesis. Through this study, we expect to propose a different way to approach the theatrical productions that broke the routine and cannot be analyzed by the standard rules

My monograph focuses on the Instants d’un Opera de Pekin by the contemporary Chinese composer Qigang Chen in particular how he incorporates Chinese musical elements with Western compositional techniques. The main focus of this study is an analysis with emphasis on performance issues. A brief introduction to Chinese music elements is provided to establish a context. This document provides brief information about Chinese scale modes and instruments.

Music in jingju, one of the most representative genres of Chinese traditional theatre, is created according to a series of orally transmitted principles. This thesis aims at deepening the understanding of one of them known as shengqiang, which accounts for the melodic material. To this goal, it proposes a novel approach based on computer aided musicology. A corpus of machine readable scores for 92 jingju arias is gathered, covering 899 melodic lines in the two main shengqiang used in jingju, named erhuang and xipi. These lines are grouped into 24 categories according to the principles of jingju music system, and comparative analysis is performed in each category, obtaining a series of melodic schemata which represent their melodic identity. Automatically extracted statistical and quantitative data support and expand the information provided with these schemata. The corpus, the developed code, and the resulting plots and data are available in a companion webpage.
La música del jingju, uno de los géneros más representativos del teatro tradicional chino, es creada según una serie de principios transmitidos oralmente. El objetivo de esta tesis es avanzar en la comprensión de uno de estos principios conocido como shengqiang, que proporciona el material melódico. A tal fin, se propone un método innovador basado en musicología con apoyo computacional, que supone la creación de un corpus de 92 partituras legibles por máquina de arias de jingju, que contiene 899 líneas melódicas en los principales shengqiang de este género, erhuang y xipi. Estas líneas, agrupadas en 24 categorías según los principios del sistema musical del jingju, son analizadas comparativamente, obteniendo esquemas melódicos que representan su identidad melódica. Esta información se apoya y amplía con datos estadísticos y cuantitativos extraídos automáticamente. El corpus, el código desarrollado y las figuras y datos obtenidos son accesibles en la página web de la tesis.
La música del jingju, un dels gèneres més representatius del teatre tradicional xinès, és creada segons una sèrie de principis de transmissió oral. L'objectiu d'aquesta tesi és avançar en la comprensió d'un d'aquests principis conegut com a shengqiang, que hi proporciona el material melòdic. Amb aquesta finalitat, es proposa un mètode innovador basat en musicologia amb suport computacional, que suposa la creació d'un corpus de 92 partitures llegibles per màquina d'àries de jingju, que conté 899 línies melòdiques en els principals shengqiang d'aquest gènere, erhuang i xipi. Aquestes línies, agrupades en 24 categories segons els principis del sistema musical del jingju, són analitzades comparativament, obtenint-hi esquemes melòdics que representen la seva identitat melòdica. Aquesta informació es recolzada i ampliada amb dades estadístiques i quantitatives extretes automàticament. El corpus, el codi desenvolupat i les figures i dades obtingudes són accessibles a la pàgina web que acompanya la tesi.

Las colecciones de música son cada vez mayores y más variadas, haciendo necesarias nuevas fórmulas para su organización automática. El análisis automático del ritmo tiene como fin la extracción de información rítmica de grabaciones musicales y es una de las principales áreas de investigación en la disciplina de recuperación de la información musical (MIR por sus siglas en inglés). La dimensión rítmica de la música es específica a una cultura y por tanto su análisis requiere métodos que incluyan el contexto cultural. Las complejidades rítmicas de la música clásica de la India, una de las mayores tradiciones musicales del mundo, no han sido tratadas hasta la fecha en MIR, motivo por el cual la elegimos como nuestro principal objeto de estudio. Nuestra intención es abordar cuestiones de análisis rítmico aún no tratadas en MIR con el fin de contribuir a la disciplina con nuevos métodos sensibles al contexto cultural y generalizables a otras tradiciones musicales. El objetivo de la tesis es el desarrollo de técnicas de procesamiento de señales y aprendizaje automático dirigidas por datos para el análisis, descripción y descubrimiento automáticos de estructuras y patrones rítmicos en colecciones de audio de música clásica de la India. Tras identificar retos y posibilidades, así como varias tareas de investigación relevantes para este objetivo, detallamos la elaboración del corpus de estudio y conjuntos de datos, fundamentales para métodos dirigidos por datos. A continuación, nos centramos en las tareas de análisis métrico y descubrimiento de patrones de percusión. El análisis métrico consiste en la alineación de eventos métricos a diferentes niveles con una grabación de audio. En la tesis formulamos las tareas de deducción de metro, seguimiento de metro y seguimiento informado de metro de acuerdo a la tradición estudiada, se evalúan diferentes modelos bayesianos capaces de incorporar explícitamente información de estructuras métricas de niveles superiores y se proponen nuevas extensiones. Los métodos propuestos superan las limitaciones de las propuestas existentes y los resultados indican la efectividad del análisis informado de metro. La percusión en la música clásica de la India utiliza onomatopeyas para la transmisión del repertorio y la técnica. Utilizamos estas sílabas para definir, representar y descubrir patrones en grabaciones de solos de percusión. A tal fin generamos una transcripción automática basada en un modelo oculto de Márkov, seguida de una búsqueda aproximada de subcadenas usando una biblioteca de patrones de percusión derivada de datos. Experimentos preliminares en patrones de percusión de ópera de Pekín, y en grabaciones de solos de tabla y mridangam, demuestran la utilidad de estas sílabas, identificando nuevos retos para el desarrollo de sistemas prácticos de descubrimiento. Las tecnologías resultantes de esta investigación son parte de un conjunto de herramientas desarrollado en el proyecto CompMusic para el mejor entendimiento y organización de la música clásica de la India, con el objetivo de proveer una experiencia mejorada de escucha y descubrimiento de música. Estos datos y herramientas pueden ser también relevantes para estudios musicológicos dirigidos por datos y otras tareas de MIR que puedan beneficiarse de análisis automáticos de ritmo.
Large and growing collections of a wide variety of music are now available on demand to music listeners, necessitating novel ways of automatically structuring these collections using different dimensions of music. Rhythm is one of the basic music dimensions and its automatic analysis, which aims to extract musically meaningful rhythm related information from music, is a core task in Music Information Research (MIR). Musical rhythm, similar to most musical dimensions, is culture-specific and hence its analysis requires culture-aware approaches. Indian art music is one of the major music traditions of the world and has complexities in rhythm that have not been addressed by the current state of the art in MIR, motivating us to choose it as the primary music tradition for study. Our intent is to address unexplored rhythm analysis problems in Indian art music to push the boundaries of the current MIR approaches by making them culture-aware and generalizable to other music traditions. The thesis aims to build data-driven signal processing and machine learning approaches for automatic analysis, description and discovery of rhythmic structures and patterns in audio music collections of Indian art music. After identifying challenges and opportunities, we present several relevant research tasks that open up the field of automatic rhythm analysis of Indian art music. Data-driven approaches require well curated data corpora for research and efforts towards creating such corpora and datasets are documented in detail. We then focus on the topics of meter analysis and percussion pattern discovery in Indian art music. Meter analysis aims to align several hierarchical metrical events with an audio recording. Meter analysis tasks such as meter inference, meter tracking and informed meter tracking are formulated for Indian art music. Different Bayesian models that can explicitly incorporate higher level metrical structure information are evaluated for the tasks and novel extensions are proposed. The proposed methods overcome the limitations of existing approaches and their performance indicate the effectiveness of informed meter analysis. Percussion in Indian art music uses onomatopoeic oral mnemonic syllables for the transmission of repertoire and technique, providing a language for percussion. We use these percussion syllables to define, represent and discover percussion patterns in audio recordings of percussion solos. We approach the problem of percussion pattern discovery using hidden Markov model based automatic transcription followed by an approximate string search using a data derived percussion pattern library. Preliminary experiments on Beijing opera percussion patterns, and on both tabla and mridangam solo recordings in Indian art music demonstrate the utility of percussion syllables, identifying further challenges to building practical discovery systems. The technologies resulting from the research in the thesis are a part of the complete set of tools being developed within the CompMusic project for a better understanding and organization of Indian art music, aimed at providing an enriched experience with listening and discovery of music. The data and tools should also be relevant for data-driven musicological studies and other MIR tasks that can benefit from automatic rhythm analysis.
Les col·leccions de música són cada vegada més grans i variades, fet que fa necessari buscar noves fórmules per a organitzar automàticament aquestes col·leccions. El ritme és una de les dimensions bàsiques de la música, i el seu anàlisi automàtic és una de les principals àrees d'investigació en la disciplina de l'recuperació de la informació musical (MIR, acrònim de la traducció a l'anglès). El ritme, com la majoria de les dimensions musicals, és específic per a cada cultura i per tant, el seu anàlisi requereix de mètodes que incloguin el context cultural. La complexitat rítmica de la música clàssica de l'Índia, una de les tradicions musicals més grans al món, no ha estat encara treballada en el camp d'investigació de MIR - motiu pel qual l'escollim com a principal material d'estudi. La nostra intenció és abordar les problemàtiques que presenta l'anàlisi rítmic de la música clàssica de l'Índia, encara no tractades en MIR, amb la finalitat de contribuir en la disciplina amb nous models sensibles al context cultural i generalitzables a altres tradicions musicals. L'objectiu de la tesi consisteix en desenvolupar tècniques de processament de senyal i d'aprenentatge automàtic per a l'anàlisi, descripció i descobriment automàtic d'estructures i patrons rítmics en col·leccions de música clàssica de l'Índia. Després d'identificar els reptes i les oportunitats, així com les diverses tasques d'investigació rellevants per a aquest objectiu, detallem el procés d'elaboració del corpus de dades, fonamentals per als mètodes basats en dades. A continuació, ens centrem en les tasques d'anàlisis mètric i descobriment de patrons de percussió. L'anàlisi mètric consisteix en alinear els diversos esdeveniments mètrics -a diferents nivells- que es produeixen en una gravació d'àudio. En aquesta tesi formulem les tasques de deducció, seguiment i seguiment informat de la mètrica. D'acord amb la tradició musical estudiada, s'avaluen diferents models bayesians que poden incorporar explícitament estructures mètriques d'alt nivell i es proposen noves extensions per al mètode. Els mètodes proposats superen les limitacions dels mètodes ja existents i el seu rendiment indica l'efectivitat dels mètodes informats d'anàlisis mètric. La percussió en la música clàssica de l'Índia utilitza onomatopeies per a la transmissió del repertori i de la tècnica, fet que construeix un llenguatge per a la percussió. Utilitzem aquestes síl·labes percussives per a definir, representar i descobrir patrons en enregistraments de solos de percussió. Enfoquem el problema del descobriment de patrons percussius amb un model de transcripció automàtica basat en models ocults de Markov, seguida d'una recerca aproximada de strings utilitzant una llibreria de patrons de percussions derivada de dades. Experiments preliminars amb patrons de percussió d'òpera de Pequín, i amb gravacions de solos de tabla i mridangam, demostren la utilitat de les síl·labes percussives. Identificant, així, nous horitzons per al desenvolupament de sistemes pràctics de descobriment. Les tecnologies resultants d'aquesta recerca són part de les eines desenvolupades dins el projecte de CompMusic, que té com a objectiu millorar l'experiència d'escoltar i descobrir música per a la millor comprensió i organització de la música clàssica de l'Índia, entre d'altres. Aquestes dades i eines poden ser rellevants per a estudis musicològics basats en dades i, també, altres tasques MIR poden beneficiar-se de l'anàlisi automàtic del ritme.

博士
國立中央大學
中國文學系
102
Abstract This study features “rudimentary plays of Jingju （Peking Opera） 京劇開蒙戲,” exploring the arrangement of repertoire in the basic education of Jingju. The rudimentary plays handed down by generations have its importance and continuity in context of heritage. The narrow sense of rudimentary plays only means the first repertoire learnt by Jingju beginners, whereas the broad sense means all basic groups of repertoire for actor training. Based on fieldwork at theatre colleges, interviews with Jingju actors, literatures and biographies, this study sorts out the context of heritage since the early period of Keban 科班（old-type opera school）, discussing the procedure of Jingju learning, analyzing the context and the varying factors of rudimentary plays, and the evolution of basic education of Jingju actors through the evolution of rudimentary plays of all roles and the teaching materials from Keban to modern theatre schools. The first three chapters introduce the forty-four years’ educational experience of the Keban of Fu Lian Cheng 富連成科班, the succession from Jingju Kebans of the 19th century, and the operating model that Fu Lian Cheng has established. Then, this study introduces the circumstances of education, the rudimentary plays and its evolution of Jingju vocational schools such as National Taiwan College of Performing Arts, National Academy of Chinese Theatre Arts （Beijing）, Beijing Opera Arts College, and Shanghai Chinese Opera School. In the latter three chapters, this study introduces the evolution of rudimentary plays of all sorts of roles, including Sheng 生（male role）, Dan 旦（female role）, Jing淨（painted face male role）, and Chou丑（clown role）. Training content and teaching materials in practical education are also introduced. Then, this study tries to figure out common characteristics and the factors of alternativeness among these repertoires by analyzing the posture training provided in these rudimentary plays. With research on rudimentary plays of Jingju, this study, as a record of processing model of performing arts and cultural heritage, hopes to be beneficial to the methods of modern Jingju education and the compilation of teaching materials.

碩士
國立臺灣藝術大學
戲劇學系表演藝術碩士班
101
Cross-discipline performance art has become a popular trend in modern art culture. The rapid development of science and economics has facilitated the diversified development of art. In recent years, artists have taken daring and innovative measures to set ideals into reality. Moreover, stage performances and contemporary music have emerged in large numbers around the world; the more popular performances have been well accepted and appreciated by audiences comprising artists of performing arts. In Taiwan, artistic works that integrated cross-discipline performing arts emerged rather late. However, in the last decade, the amount and quality of the creations have both improved. Yiu-kwong Chung, a talented composer and performer of both Western and Chinese music, has contributed a significant amount and a wide variety of highly accomplished music in Taiwan in the last decade. More importantly, he has created a whole new path by integrating traditional Chinese music and Western orchestra, and blending Peking opera and music in the Chinese-Western hybrid art domain. His work includes elements of Western and Chinese music, resulting in works that are modern yet rich in characteristics of the traditional Peking opera. From November 9th-11th, 2007, GuoGuang Opera Company of Taiwan and National Symphony Orchestra (NSO) jointly performed the newly-adapted Peking opera “Sunlight after Snowfall” at the National Theater, which was a successful illustration of blending opera and music. The composer, Yiu-kwong Chung, fully demonstrated his extraordinary strength and skill in performing arts in his musical creation by combining the structure and fluctuating tones of the Peking opera with musical elements, such as Western orchestra, opera, choir, and traditional Peking opera. The play not only retained the traditional tone and rhythm of Chinese music but also created an integrated and natural air of modernity, allowing the different elements to supplement and enhance each other. The newly-adapted Peking opera, “Sunlight after Snowfall”, focuses mainly on drama while using music as a supporting element. Drama and singing are the basis of music, while singing and music are considered as important factors in the success of drama and artistic charm. Therefore, drama and music are inseparable. The Erhu Concerto of “Sunlight after Snowfall” was able to integrate Peking opera and musical elements to create a brand new style. This study analyzed music and drama in the Newly-adapted Peking opera “Sunlight after Snowfall” and the musical, dramatic, and skill characteristics of the Erhu Concerto “Sunlight after Snowfall” to explore the success and characteristics of the two pieces, and to present suggestions for their deficiencies.

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.

碩士
國立臺北教育大學
語文與創作學系碩士班
101
Intercultural performance of opera has not stopped since 1990; creations through fusion among different cultures have revealed the possibility of diversified development for the art of opera. Peking opera has been through transformation and renovation in different stages; performance by the National Guoguang Opera Company, an important vehicle for Peking opera culture in Taiwan, has been a key indicator to Peking opera’s development in Taiwan. The Orlando and Cleopatra and Her Fools recently performed by the National Guoguang Opera Company are major breakthrough to which the National Guoguang Opera Company revises and interprets Intercultural Peking opera. This study begins with the Intercultural performance in Taiwan, addresses the innovation and Intercultural Interpretation attempted by the National Guoguang Opera Company, explains the difference between the revision and the original descriptive structure in Intercultural Interpretation, and then further explores the difficulties in cultural exchange before Intercultural performance. Chapter 3 examines the implementation of Intercultural theater in terms of play writing, directing, and acting: meta‐technique, image representation, actor’s program breaking and leaping over character and the new interpretation in stage art jointly offer refreshing innovation distinctive to the western theatric performance and the oriental opera. Chapter 4 focuses on interpreting the connotation. The connotation that National Guoguang Opera Company’s revising Intercultural Peking opera and thus combining opera performance and theatric tension is even pervasive and impressive. The Adaptation and interpretation of Intercultural Peking opera by the National Guoguang Opera Company has revealed tolerance within the vehicle of opera and a new way of expression for Peking opera in Taiwan. The National Guoguang Opera Company’s attempt in Intercultural Interpretation applies the beauty of program in opera in theatric performance and increases the competence in play writing, directing, and acting, and aesthetics is expanded. The serial experiments have brought self reflection.

碩士
中國文化大學
戲劇學系
105
The Peking opera of modern creation response to modern aesthetic made a lot of new attempts, Experimenting Peking opera is one of the way to modernization.This article takes GuoGuang opera company 's four works "Mr.Goodman Dumps His Wife"、 "Whispres at a Tombstones"、"The Ghost Seller"、"Magic Drama" as the research object. Years 2004 GuoGuang opera company created the first experiment-ing peking opera "Mr.Goodman Dumps His Wife",and years 2006 created "Whispres at a Tombstones" its creat form Wang Anqi and Li Xiaoping who has many experience of Peking opera.Years 2013 GuoGuang opera company hold an art festi-val" Experimenting theater and dream",in this festival, GuoGuang opera company created "The Ghost Seller"、"Magic Drama",this two works created by morden theater direct and young playwriter. Through the comparison of two part of different works, it is found that the production scale and the amount of resources devoted affect to the development of the works. The orientation of the work also affects the difference of its audience, in the development of new audience, the orientation also need to be considered. On the other hand, the modern theater director and the traditional opera director in the Experimenting Peking opera with the actor's communication work also produce a different style.

博士
中國文化大學
中國文學研究所
94
Research upon Literary Arts of New Editions for Peking Opera (1949－2005) Abstract Peking Opera is one of the most representative forms of Chinese traditional performing arts, looking back at more than 200 years of history, but still being much alive on modern stages. Due to special reasons, it was not only the government of the Republic of China in its early years on Taiwan, that granted many resources and much attention to Peking opera, but private persons and connoisseurs spent many efforts in the task of ‘enhancing’, ‘new editing’, and ‘modernizing’ this art, thus attempting at adding new aspects to Peking opera and reversing dwindling audience numbers; private circles especially tried to win over and attract the younger generation. It was therefore more than just the trend of the times that resulted in differences between Taiwan’s Peking opera and its original setting in Beijing (in the PR China), as it was the result of a deliberate attempt at reform. This thesis analyzes pieces of Peking opera, that had been newly edited and newly written in Taiwan during the time between 1949 and 2005. It explores reasons for creating these pieces by comparing scripts and literary conditions for their emergence with politico-economic, social and cultural factors of their time of emergence. While pointing out creative advances of new editions and new writings, the focus of research rests upon subject (劇目題材), reflective conscious (主題意識), character set (腳色行當), scene structure (排場配置), and modern stage elements (現代劇場元素). On the base of these contributing segments, a general evaluation of the genealogy of newly edited and newly written pieces of Peking opera in modern Taiwan is put forward. Keywords Peking opera, new edition, new script

碩士
中國文化大學
戲劇研究所
92
The thesis consists of two parts. Part One discusses children’s creativity and mentality, with an emphasis on the 9 to 12 age level. This will be followed by an analysis of the characteristics and dramaturgy of the Peking Opera and those of the modern children’s theatre, in order to find out what and how to borrow from the latter to enrich the Peking Opera for children, and how to modify the traditional classification of character-types, acting conventions and techniques to suit the children today, who are mostly not family with this traditional theatre. Part Two is the original script of a Peking Opera for Children entitled Bao Bien-tian, the Foolish Governor, who manages not only to find out which of two mothers is the real one but also to solve the judicial difficulty between law and love of kinship.

碩士
中國文化大學
戲劇學系
99
The major discussions of the contemporary Peking Opera Play Writing “Abyss” are as follows. How does grudge interfere the victim? How to manage an issue without a proper legal settlement? Can execution bring contentment to the victim? Can personal revenge comfort the devastation? If not, who should be liable for that? There are numerous examples of criminal cases in traditional Peking Opera. The justice ending comforts the souls of the victims. Without the lift of the righteousness, however, how should the families of the victim be released from the grief? Being a play writer, I am devoting my effort to bring up the awareness of these issues. “Abyss” is written in “Peking Opera” format, structured through the legal case, presented by the interlacing of reality and imagination, based on the depiction of the major characters. In addition to my originality, I grounded this play writing on the foundation of theory of the thesis. There are totally seven scenes of the entire play, approximately 120-150 minutes. Four chapters are included in this thesis. The first chapter states the motivation and research of this project, my writing style and my goal. The second chapter explains the literary value, as well as the special features of Peking Opera. The definition of “Gong-An Opera of Yuan Dynasty” will also be analyzed and compared with my contemporary Peking Opera “Abyss”. New factors have been added into my play writing to be distinctive from the traditional Peking Opera. The third chapter is focused on the selection of the topic and the summary of the content of each scene, the analysis of the characters, the categorizing of the character and the relationship in between. The last chapter includes the story line, development of characters, the arrangement of the music and the lines in details.

碩士
國立臺灣藝術大學
戲劇學系
108
This master’s thesis discuss the oppressed women under the patriarchal in the New Peking Opera The Golden Cangue by GuoGuang Opera Company. The aim is to understand how the New Peking Opera The Golden Cangue has adapted the original novel and how the feminist thinking after the adaptation is presented. The full text is divided into five chapters. The first chapter is an introduction to illustrate the motivation, the aim of this study and the research methods. The second chapter is the literature discussion, expounding several schools ideas of feminist development. The third chapter is the adaptation of the New Peking Opera to the original novel. The fourth chapter is to discuss Marxist feminism in the New Peking Opera The Golden Cangue. The fifth chapter is the conclusion. This study finds that the New Peking Opera The Golden Cangue applies the stream of consciousness, montage and the content of The Rouge of The North. In the analysis of feminism, many characters in The Golden Cangue have class consciousness, especially Qiqiao Cao. Qiqiao Cao thought that she had been deceived by Jiang’s marriage so there had many complaints. This is actually the result of the exploitation of women by the capitalism. When Qiqiao Cao left the family of Jiang, Qiqiao Cao became an agent of the patriarchal. On the one hand, she controlled her children with the bourgeoisie, and on the other hand she oppressed the wife of her son.

碩士
國立臺北護理健康大學
語言治療與聽力研究所
105
The singing arts of Chinese opera (Xiqu) have a long history. The singing voices of Dan (female roles) in Peking opera are brighter and sharper than other falsetto singing voices in Western music cultures. This study aimed to compare the spectral characteristics between the voice timbre of Dan in Peking opera and the falsetto singing of Western classical vocalists. In addition, the present study also investigated the spectral features of the Dan singing style between two schools of Peking opera, the Mei school and the Cheng school. Three professional female participants were recruited for this study, divided into three groups based on their singing style: two for Peking Opera, and one for western singing styles (Western opera and musical theatre). For performers who sang Peking Opera, 0.2-second segments of the steady vowels /i, a, ǝ/ in their recordings were extracted, serving as the samples for analysis. The participant of western singing styles was asked to imitate the vowel and pitch of these segments using bel canto and legit techniques. The results suggested that the singing voices of Mei school had stronger high-frequency harmonics than the other three singing styles, as revealed by three indices of spectral characteristics: (1) the energy difference between 0~1 kHz and 2~3 kHz, (2) the energy difference between 0~1 kHz and 3~4 kHz, and (3) singing power ratio (SPR, the decibel difference between the highest harmonic peak within 2~4 kHz and that within 0~2 kHz). Among the three analyzed vowels, the spectra of /i/ showed minimal differences across the four singing styles. It was also found that while SPR was a good index to differentiate Mei school from the other three singing styles, energy in the 2~3 kHz frequency range could serve as a potential indicator in highlighting the spectral characteristics of the Mei school singing voice of /a/.

碩士
東吳大學
音樂學系
92
Abstract This thesis is a research about the developments and the influences of the education for Music of Peking Opera in Taiwan, through the studies of the historical data and the documents, which aim at cultivating the musicians performing on Peking Opera stage at present, including the system of the education, the training periods, and the teaching methods. Because of few articles about the music of Peking Opera, lacking the studies of the education in Music of Peking Opera, the developments of performing on stage were usually focused on training the actors, less considering the importance of cultivating the musicians performing on Peking Opera stage. One of the main causes which Peking Opera has been getting on the decline in the main stream of Chinese performing arts during recent 20 years is unstressed on the cultivating of the musicians performing on Peking Opera stage. Hence, I studied the historical data and the documents, by means of visiting training teachers of Peking Opera, the musicians performing on Peking Opera stage, the actors and the actresses of Peking Opera, and the students from different training periods to explore and clarify the influences produced by various Peking Opera music education stages as well as the further developments in the future. The research makes conclusions below according to the results: 1. Music of Peking Opera education has direct influences on the development of Peking Opera. 2. It has the necessity of independent professional department to make further developments. 3. It’s an important reason for impeding the further developments of Peking Opera owing to a lack of the researchers and the critics. 4. It’s the current of time to promote the Peking Opera music education and mix the varieties of musical components to create new styles of the music performing on the stage. 5. It’s necessary to build a connective system of training the musicians performing on stage. 6. It’s the base to develop more Music of Peking Opera teacher in order to reserve and continue the Xiqu music.

Chan, Pui Lun.
"December 2010."
Thesis (M.Phil.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves 133-147).
Abstracts in English and Chinese.
Abstract of thesis entitled: --- p.i
Abstract (Chinese) --- p.iii
Acknowledgements --- p.iv
Table of Contents --- p.v
List of Figures and Tables --- p.viii
Romanization and Translation --- p.ix
Chapter Chapter One - --- Introduction --- p.1
Chapter 1.1 --- "Motivations, Arguements and Methodology" --- p.2
Chapter 1.2 --- Ethnomusicological Studies on Chinese Operas --- p.3
Chapter 1.3 --- Studying Peking opera in Hong Kong --- p.5
Biographies of Mainland Peking Opera Performers --- p.5
Newspapers Reports and Columns --- p.6
Interview Transcripts of Peking Opera Artists in Hong Kong --- p.7
Government Documents and Archival Data --- p.8
Fieldwork --- p.8
Challenges and Limitations --- p.9
Chapter 1.4 --- Thesis Outline --- p.10
Chapter Chapter Two - --- The History of Peking Opera in Hong Kong --- p.14
Chapter 2.1 --- The Dual Forces of Cultural Policies --- p.15
Tour Performances as Diplomacy --- p.15
The First Encounter: Mei Lan-fang's Tour in 1922 --- p.17
Cultural Competition between the Two Chinese Regimes --- p.21
Cultural Policy of the Colonial Government before 1980 --- p.24
Chapter 2.2 --- Early Peking Opera Activities in Hong Kong --- p.26
Peking Opera in Recordings and Radio Broadcasting --- p.26
Peking Opera Films in the 1940s and 50s --- p.33
Integrating Peking Opera with Local Martial Arts Films in the 1960s and 70s --- p.35
Local Peking Opera Academies --- p.38
Amateur Peking Opera Groups --- p.42
Hybridization Between Peking Opera and Cantonese Opera --- p.43
Chapter 2.3 --- An Entertainment for Mainland Emigrants --- p.48
Chapter 2.4 --- Summary --- p.51
Chapter Chapter Three - --- Contemporary Peking Opera Activities --- p.54
Chapter 3.1 --- The Continuing Political Influence --- p.55
The Shifting Dynamics of Political Influences in the Pre-HKSAR Period (From 1980 to 1997) --- p.55
Increasing Support in the HKSAR Period (1997- present) --- p.58
Chapter 3.2 --- Readapting Western Literature into Peking opera --- p.62
Chapter 3.3 --- Other Contemporary Activities --- p.65
General Observations --- p.65
Musical Background of Participants and Audiences --- p.69
Audiences'and Participants' Responses --- p.70
Presentations Styles --- p.71
Chapter 3.4 --- Summary --- p.78
Chapter Chapter Four - --- Globalization Impacts on Peking opera in Hong Kong --- p.80
Chapter 4.1 --- Peking Opera Activities and Globalization in Hong Kong --- p.83
"Realizing the ""Imaginations""" --- p.83
The Hybrid Form of Globalization r. --- p.88
Chapter 4.2 --- A Traditional Interpretation of Globalization --- p.93
"The ""Dilemma of Identity""" --- p.93
The Dominance/Resistance Dichotomy in Ethnomusicological Studies --- p.94
The Co-existence of Dichotomy --- p.96
Chapter 4.3 --- Summary --- p.99
Chapter Chapter Five - --- Conclusion --- p.101
Chapter 5.1 --- Historical Activities --- p.101
Chapter 5.2 --- Contemporary Activities --- p.104
Chapter 5.3 --- Political Influences --- p.106
Chapter 5.4 --- Globalization Impacts --- p.108
Chapter Appendix I: --- Peking opera events presented by major cultural supporting sectors from 1976 to 2009 --- p.110
Chapter Appendix II: --- Arts Development Council Grants to Local Peking Opera Troupes from the Financial Year of 1994/95 to 2007/08 --- p.120
Chapter Appendix III: --- Other Peking Opera Activities Conducted by Local Peking Opera Troupes from 1976 to 2009 --- p.122
Glossary --- p.126
Bibliography --- p.133

碩士
國立中央大學
中國文學系
103
The overall objective of this study is to explore the interactive relationship between "Taiwan's Peking Opera" and "playwriting of Peking opera " from the perspective of political and social changes. The subject period in this study including the Japanese occupation, during the anti-Japanese war and the period after Nationalist Party government moved to Taiwan. More specifically, the aim of this study attempts to explore how political patterns seek a breakthrough in the development of Peking opera, further restricting or promoting the adaption of Peking opera. Meanwhile, this study try to indicate the market which established by changes in social conditions, how affects the development of Peking opera. Also, we would like to know the way of market and art respond to Peking opera with political ideologies. There are the following characteristics of Peking opera development of this period (1949-1965): First, the development of policy followed the anti-Japanese war mode; Second, Peking Opera is portrayed as cultural propaganda weapon, for all intents and purposes. Although the creation of policy plays can go hand in hand with the creation of art, but policy plays got a poor response. Third, the development of opera became more popular through the media. Fourth, censorship dominated creation and performance, so it’s difficult to make a living, the troupe and actors gradually merged by the army, in order to subsistence. Fifth, actors and amateur performers, tend to blur the boundaries. Sixth, drama school system formed, the new generation of actors grew, appeared on the stage. In brief, the Peking opera of this period in Taiwan, seeking to create a pattern on one side, but because of political and social conditions, it is also constrained on the other side. However, the artistic-oriented Peking opera did not completely obliterate by the political considerations. This period can be regarded as a consolidation, and ultimately selected the most suitable development model for Peking opera.

碩士
國立成功大學
藝術研究所
104
The movie “Farewell My concubine”, utilizes delicate and detail filming technique, unique script, as well as precise and timely performance: it has become a classic piece of art in the history of filming. The nature of peking opera also requires plenty of memorization and culture understanding. “Farewell My concubine” was originally a novel that was made into a film. Through visual presentation, one is able to observe the relationship between the king and the concubine of a past era as they form sparks of romance. This article will discuss the use of peking opera in “Farewell My Concubine” First of all, looking at the film and novel and how it plays a role in the elaboration of history, as well as how the film utilise the opera themes to set the atmosphere and mood. We would also be touching base on how the arias in the film separate the themes. This article will discuss the arias in the movie in its respective order. The following arias would be used for discussion in this article. They are as follow: (Ever since the journey following my king), (Han Solders be done in),(Hearing the discussions amongst solders) Through this article of study on a spectacular work, one would be able to identify the relationship between traditional art and modern art, as well as the different techniques used to integrate its advantage and feature. By providing different perspectives from viewers all over the world, this study could potentially bring insights to others who are on the similar field of study. By the end of this article viewers would be able to gather more information, and allow others to understand peking opera better. Hopefully this article would also promote peking opera and bring it back to its prime, allowing it to be integrated in our pop culture and society once again.

碩士
國立中央大學
中國文學研究所
98
Since 1980, Taiwan''s new editing Peking Opera have been changed in structureand plot in the script. The modern thinking that the new editing Peking Opera presented is also very diverse, gender issues is one of them. Wang An-Chi’s book《絳唇珠袖兩寂寞—京劇‧女書》in 2008, which collected《王有道休妻》、《三個人兒兩盞燈》、《金鎖記》and《青塚前的對話》. The four play breakthrough the traditionalimage of women, therefore this thesis use this book as the main text area, to highlight Taiwan''s Peking Opera of shaping the image of women. The first statement is the development and direction of Taiwan’s new editing Peking Opera, followed by an overview of the prototype and the original story’sfemale image, and compared with the newly edition, it shows theevolution betweenthe traditional female situation and the modern female. Then investigate theemotional flow about traditional women in the family, love and friendship by new editing Peking Opera, discuss the difference with thetraditional Peking Opera and the female thinking that women writer presented. New editing Peking Opera’s technique of expression emphasize by director and art of stage, analyse the stage effects created by the image of modern women and modern theater through the audience perspective, in the show through the performing arts to fulfill the female image on the stage.

碩士
國立臺南大學
鄉土文化研究所碩 / 博士班
92
The words “Pai-Chang“(Chinese)or “Pai5 Tiunn5”(Taiwanese) have many meanings. But when used in traditional opera or music and explained as a kind of formal musical performance, they are only applied in Taiwanese Peguan and Nanguan cultural circle, particularly in Peguan circle. There are two kinds of characters of “Pai-Chang” in terms of the function of the performance, namely artistry and folk custom. In Tainian city, “Pai-Chang”, which refers to the formal vocal performance without makeup and acting; nevertheless, is used by the amateur actors’ organizations of Peking opera as well. Such a phenomenon raises two questions: first of all, Although Peking, the origin of Peking opera, has vocal performance of Peking opera, “Pai-Chang” is never used, either artistry or folklore, therefore, how does this jargon hand down to the Peking opera circle in Tainan city ? And what does the vocabulary floating phenomenon mean ?Secondly, although in Peking, Peking opera is a kind of folk drama, which is popularized for everyone, from the noble family to the peasants, due to the political and social context, Peking opera in Taiwan used to be regarded as a political privilege for the upper class and is mainly an indoor performance. In Tainan city, however, “Pai-Chang” becomes an outdoor performance and is combined with folk activities. How does such a kind of culture being formed in Tainan city? How wide does this culture phenomenon spread ? And what are its content, change and meaning? This paper, therefore, examines the development of “the folklore Pai-Chang of Peking opera aria in Tainan city” through literature review, depth-interview, oral history and participant observation. The concept frame is culture organism as the vertical axle and elements of a folklore activity as the transverse axle. There are several significant findings about the general picture of this subject: During the late period of Japanese colonial era, Tainan local people who played Peguan music learned Peking opera aria and tried to bring Peking opera aria into the folklore Pai-Chang which was one kind performance and traditional custom of Peguan music. Some people who came from other places and played Peking opera aria had also known or learned “Pai-Chang”(this words and local custom) with touching Tainan local amateurs. “Pai-Chang” used to be performed by amateurs for worship of god or goddess or for seasoning and wedding celebration without rewards. Amateurs volunteered to perform “Pai-Chang” only for their duty temples and fraternity of Peking opera aria. The majority of the audience is people who perform or like “Pai-Chang” or who live nearby. There is a fixed pattern of the performance, including the repertoire and the arrangement of the band. The main meaning of this performace is to pray God’s blessings, therefore the procedure of “Ban-Hsian”(God imitating) is the most essential and ahead of Peking opera aria singing. With time goes by, the number of the amateurs has dropped; yet the demand for the worship ceremony remains; hence, some of the amateurs have been trained to become professional performers. Besides, although the idea and the meaning of “Pai-Chang” remains, the pattern of the performance has become simplified and rigid, which is because of the performers’ number decreasing and market adapting. Nowadays, the whole ecosystem of the folklore Pai-Chang of Peking opera aria in Tainan city keep changing, which is mainly influenced by the transition of the society(such as the time and space of the industrial and commercial society being compressed, and most people’s pursuing of specialization and utilitarianism etc.) According to the findings in this paper, the phenomenon can be regarded as the subject matter both of Peking opera and folklore studies. For the studies of the Taiwanese culture, however, the subject not only enriches the subject matters of the Taiwanese culture(signifies the localization of Peking opera and a new pattern of Taiwanese folklore), but also reflects the characters of diversification, integration, adaptation, and compromise of Taiwanese culture, which used to be influenced by different regimes and the historical contexts. Facing such a multicultural context, this paper thus suggests researchers should show an open-minded attitude toward the complex of the Taiwanese culture studies and then important phenomenon would not be ignored or misunderstood.

碩士
佛光大學
藝術學研究所
100
The actors are the center in the performance of traditional Chinese theatrical opera. The structures in some operas are very easy to form stars; but the structures in some operas themselves are worse, so they need stars to make re-creation and let the contents become richer and better to be appreciated. Utilizing Goulan Washe as a main show place to be the performance era, and adding the contents such as acrobatics in the opera as one of performing methods, then generate the unique fighting scenes. After the actors adding something to improve and enhance, let the content be close to the nature of opera. Each simple plot shows the actors performing skills such as singing, chanting, acting and fighting, furthermore, it represents the fun of art for the opera. 　　The main purpose is to analyze and study Dan’s performing art in Peking opera according to Peking opera “Hong Ni Guan” , and utilize Mei Langfang, such Peking opera’s star who performed “Hong Ni Guan” combining with his art treatment and the influences to younger generations as the discussing cores. I study the role played in “Hong Ni Guan” in his art career from Mei Langfang’s young period, and the art creation made in “Hong Ni Guan” before Mei Langfang, the same period of Mei Langfang and made by his successors. Besides, I also try to analyze the creation of Peking opera’s actors during the process of becoming a star, and comprehend how to form a classical opera through the practice on stage generation by generation and affect the audiences in different era, in different region. 　　This main study is based on Mei Langfang, comprises of information, photos and videos, etc.; I try my best to find literatures and videos of other famous actor of Dan in Peking opera as a blueprint of studying Dan's performing art in Peking opera. Then, comparing with my personal practical experiences on stage, I hope that it can clear its essence and art value represented in this opera.

碩士
元智大學
資訊傳播學系
100
This research study on the rhythm of Bei Guan music and Peking Opera music. This research Use three way of rhythm complexity analyses - off-beatness, Keith’s measure and Weighted Note-to-Beat Distance to find out the complexity of these two traditional music. Moreover, use these analyzed complexity data to do curve fitting, generate linear graph and polynomial. After find out rhythm’s similarities and characteristic, apply properties and polynomials to rhythm generator of algorithmic composition. In addition, use the Markov Chain Model to find out the probability of pitches in Bei Guan music and Peking Opera music. Finally this research builds up algorithmic composition of traditional music, and composes music with special style. Hope this research can help algorithmic composition to generate rhythm in different ways and reach the field of traditional music.

碩士
國立臺灣藝術大學
戲劇學系
107
At the time of the creation of 「National Taiwan College of Art」 had set up the department of Beijing Opera, the earliest pioneer of Beijing Opera education in Taiwan. But just because of its early establishment, in addition to the Beijing Opera field of teachers , students ,their relatives and friends, few people have known it.Therefore, I want to do a study to learn about and explore Beijing Opera education. Limited by the time and the length of the study , first focus on the Beijing Opera education in the Republic of China in the early years and then the growth and evolution in Taiwan. Second, sort out and review the two stages of before and after process of the Beijing Opera education of 「National Taiwan College of Art」 and then conduct studies on the Beijing Opera graduates of their feelings and changes after graduating from college and the current employment situation .Last, make a induction and analysis comparison in teaching results of the two-stage school system and do a discussion for the current situation of Beijing Opera education. After a half century of Beijing Opera education, Taiwan has cultivated thousands of Beijing Opera students.Compared with the study of Beijing Opera culture, the discussion and research on Beijing Opera education is quite rare, and I hope that through the results of this thesis, in addition to the establishment of the history of Beijing Opera education data in 「National Taiwan College of Art」, can make people who have interests on Beijing Opera education in Taiwan understand more, and arouse Taiwan's relevant units on their own exquisite traditional art culture and pay the attention of Beijing Opera education and counsel the students employment, and hope to enhance advanced research on Beijing Opera professional education.

碩士
國立臺灣藝術大學
表演藝術研究所
94
PIAO-YO, which is known as “the amateur actor”, is a very important group of Peking Opera. Not only does a PIAO-YO regularly go to see performances of Peking Opera, he/she also participates in learning and studying how to perform. Moreover, to communicate and exchange their skills and experiences. PIAO-YO also organize PIAO-FANG through which events are held, and play an crucial role in developing of Peking Opera. As soon as Peking Opera was imported into Taiwan during the Japanese colonial period, it soon became more popular and widely accepted due to its complete maturity in the art of performing. And thus the population of Peking Opera audience in Taiwan had kept growing steadily. Start from the early 20’s, after sufficient time for culture, PIAO-FANG which focused on learning music(or sometimes the acting) of Peking Opera, started to crop up in all sorts of places throughout Taiwan. However, deeply influenced by BEI-GUAN ensemble at the beginning of its development, PIAO-FANG in Taiwan resembled it in many spheres, including its composition, purposes, activities, study patterns and the construction of organization. Over and above, it combined the folk religion and the public business, and ended up totally different from the original style of PIAO-FANG in China or other distributed area. Finally, this new breed of PIAO-FANG became one of the most important symbols of the localization of Peking Opera in Taiwan. On the other hand, the quality of combination of civil life had made PIAO-FANG in Taiwan independent of Peking Opera itself and no longer affected by its rise and decline. In the end, PIAO-FANG in Taiwan founded its own context in history and made it through two eras, the Japanese colonial period and after the World War II, revealing significant cultural meanings in the development of Peking Opera among the folk in Taiwan. In this paper I shall discuss musical PIAO-FANG of Peking Opera in Taiwan based on its performance, the condition of teaching and learning, the state of its organization, and the way PIAO-FANG in Taiwan developed, in order to reconstruct an outlook on its action, and thereupon discover the cultural meanings and status in history of localization.

碩士
中國文化大學
戲劇研究所
93
The present thesis is for the purpose of studying the traditional drama Peking opera "The Xiaosheng". Due to the related literary arts exchange between both mainland China and Taiwan, a rich environment of the traditional drama resources has thus been developed, thereupon starts the author’s intention to discuss "The Xiaosheng". During the past studies in the area of "The Xiaosheng", researchers hardly do a detailed research on "The Xiaosheng". This thesis aims to reorganize and do a thorough research of the term. This thesis will address its performance, the inheritance, as well as the classifications of the play. This thesis attempts to discuss the special characteristic and the artistic value of the performing artists’ pieces. Through penetrating on the character of "The Xiaosheng", the writer shall make a reorganization of the term as well as its relationship to the Peking opera. The present thesis will focus on the importance of the performing art of "The Xiaosheng” and how it is presented in the play as well as why it is an important element in the recent plays in order to enhance the value of the performing art.

碩士
國立臺灣藝術大學
戲劇學系
105
The performing art of traditional Peking Opera went through and many great artists’contribution, promotion, innovation and modification, up to date its transformation becomes more and more exquisite and elegant. Now, it is one of the three major performing systems in the world. The Peking opera has a complicated and perfect performing system of each role, no matter acting in singing, speaking, movement, or beating, Shen, Dan, Jing, Chou --they all present the highest and best value of artistry. In 1980, Zhu, Shihui, the leader of Peking Opera Troupe performed newly-written Peking Opera—“The Story of Xu, Jiu Jing promotion ”. The acting of Xu, Jiu Jing was so successful that he became the nation-wide famous Chou actor. He is called as the “First Chou in Peking Opera”. In 1992, the Old-Shen Ye, fu-run in Taiwan Kun-Jin Troupe, acted as Xu, Jiu Jing then he became very popular in public. In the traditional Peking Opera, Chou is the main character in many programs, such as “Shi Qian Steals Chickens”, “Jiang Gan Stealing Books”, “Sancha Intersection”, “Catching Alive”...etc. To perform a Chou character mainly focuses on humor, verbal showing-off and quick response. Yet, Chou has many kinds of characters, like as “Towel Chou”, “Tea Clothes Chou”,“Gown With Chou” and “Wu Chou” However the “Gown With Chou” of “The story of Xu Jiu Jing promotions” broke tradition image and created a totally new character of “Chou Shen”, that combined “Shen” and “Chou” “To Be Similar to a Chou But Not Exactly” and “Similar to a Shen But Not Actually”. In 2015 Kun-Jin Troupe Zhang, Chi-Liang acted the role by Chou character in the opera. This thesis is focusing on these three artist troupes to study ,analyze and discuss the role arrangement, character difference and mixed-up in“The story of Xu Jiu Jing promotions” performances of artistic images between “Shen Chou” and “Chou Shen”

碩士
國立臺灣大學
音樂學研究所
89
This thesis is a study of percussion music as sign in Peking opera. It proposes to expound the signification system and performance mechanism of the percussion music through a combination of traditional xiqu studies and some concepts of semiotic theory. This thesis consists of three interrelated parts, namely, fundamental theory, signification system, and performance mechanism. The first part starts with a review of the literature, and examines the pros and cons of the past approaches vis a vis the application of semiotic theory to the study of percussion music in Peking opera. Through this examination, this part tries to establish the fundamental theory for this study. The second part focuses on the four subsystems of percussion music and discusses their individual components. Using the first two parts as its basis, the third part of this thesis examines the performance mechanism of percussion music in Peking opera. Such mechanism depends on a semiosis that takes place among the percussionists themselves, among the percussionists and the actors, and among the performers on stage and the spectators. This thesis further proposes that such semiosis, is made possible by the existence of a sound-image concept shared by all participants and that this sound-image concept functions as the key to the performance mechanism in Peking opera. Keywords: Peking Opera, Chinese Opera, Percussion Music, Xiqu, Semiotics, Music Semiotics, Signification System, Performance Mechanism, Oral Notation.

碩士
中國文化大學
戲劇學系
103
Abstract 1992 is a year of Taiwan and China to recover the relationship of exchange. Taiwan government agree to open for China performance groups business visiting. It's remarkable for the meaning that the Peking opera troupes from China back to the stage in Taiwan after 44 years gap of disconnection since the last visiting of Wang and China troupe. China Peking opera troupe, such as Tianjin Peking opera troupe, Tianjin youth Peking opera troupe,and Shanghai Peking opera troupe have their oversea visit soon after. Between the year 1992 and 2010, the exchange of Taiwan and China only paused twice for the emergency occasion, "thousand island lake incidents in 1994" and " Severe Acute Respiratory Syndrome(SARS) in 2003". Beyond those two crisis, China Peking opera troupes visit Taiwan very frequently. The Arthur noticed this situation is hardly mentioned in essays, and make research based on it. This research took the material from comment and report on print media such as UNITED DAILY NEWS, MIN SHENG DAILY and Performing Arts Reviews. Also, the Arthur collect the interview from relevant people to help the argument more persuasive. The main purpose of this essay is to summarize and analyze the historical background of the performance from China Peking opera troupe from different point of view: style, performance, performer, box office, and comment. To figure out the connection with Taiwan Peking opera troupe, and fulfill the history of Taiwan Peking opera. Key words: the exchange between Taiwanese and China China peking opera PEKING OPERA THEATRE OF BEIJNG CHINA NATIONAL PEKING OPERA COMPANY TIANJIN PEKING OPERA THEATRE SHANGHAI PEKING OPERA THEATRE

碩士
國立臺灣藝術大學
戲劇學系表演藝術碩士班
104
Peking Opera has developed and rooted in Taiwan for more than fifty years, the art form has passed down over the generations, and was successfully listed as one of the UNESCO Intangible Culture Heritage in 2010, showing that this art form with its rich Chinese cultural background and foundation is widely recognized by the world. Peking Opera began its cultural communication with western art forms in the 19th century, leaving its influence on modern theater ideas. The new development can be traced back to 1970s, with the intention of bringing the new energy into this art form and to make it reflect contemporary thinking. This attempt ended up bringing Peking Opera into modern theater. To give Peking Opera a new look and new meaning toward the contemporary audience, the artists in Taiwan assimilate nutrient from the old classics by reorganizing and reinventing them, meanwhile the new plays were created, with some western classics were adapted. The formation and history of Peking Opera was a result of drawing nourishment from different art forms, therefore the attempt of getting new elements in was not new. But the attempt to bring western theater plays into Peking Opera, making intercultural adaption and reproduction is the new stage of the cultural communication between the west and the east. This research is focusing on “Cleopatra and Her Fools”, a new play produced by National Guoguang Opera Company, analyzed with the theory of theater scholar Pavis and cultural critic Edward W. Said. The research is trying to record and conclude how this work was brought to reality on the base of intercultural theory. And last, as a case study of Peking Opera in Taiwan, its attempt to intercultural adaption and reproduction.

碩士
中國文化大學
勞工關係學系
103
This study aims to investigate the general situation of work-related musculoskeletal disorders (WRMDs) occurred in Peking Opera actors in Taiwan and their work ability. The Nordic Musculoskeletal Questionnaire (NMQ) and Work Ability Index (WAI) Scale translated by Institute of Labor, occupational safety and health were used as the main research surveying tools. Taiwanese Peking Opera actors and interns were taken as the study subject and 92 valid questionnaires were returned. The study results are as follows: 1. The safety and health education and training, and health management are not prevalent for the workers of Peking Opera. The lack of education and training of the respondents are tended to have more injuries and lower work ability. 2. It is very common for Peking Opera performers to have musculoskeletal disorders. The waist, lower back, knee, foot, and the ankle are the most frequent injured for more than 50 %. The respondents with more physical movement required tend to have more musculoskeletal disorders than others. Gender, age, education, marital status, exercise, and workers or interns are not significantly related to their performance, but the musculoskeletal disorders of employees show a greater number than that of interns. 3. The work abilities of most respondents are above “average” according to the work ability index. It indiated that the actors of Taiwanese Peking Opera are generally capable of performing their jobs. Moreover, they still considered within the next two years continue to engage in the present work. The actors with the physical performance of static (singing and reciting) or non-martial arts show higher work ability as well as these two variables reached significant difference level. Although other personal variables does not represent significant levels, but the actors of 61 to 65 years old show significant drop in the work ability, and the work ability index average of the interns is higher than that of the employees. 4. In general, musculoskeletal disorders show a significant influence to work ability index, it indicates that the more serious musculoskeletal disorders, the work ability index of respondents is lower.

碩士
國立臺灣藝術大學
戲劇與劇場應用學系碩士班
99
Abstract Recently, performing arts has developed diversely. In order to be creative, more and more choreographers have tried to involve more different elements in their choreographies. This study takes Dance Forum Taipei’s Eastern Current an example to discuss how the choreographer, Yang Ming Long, integrates the two different kinds of movements of Peking Opera and Post-Modern Dance and develops a new style performance of body movements. The researcher integrates “Qualitative Research”, “Case Study”, and “Choreology” as the main research method which includes the methods of reference analysis, interview record, case study, assistant usage of video image, and choreography analysis to analyze synthetically the context of movements, choreography structure, movement efforts, and different elements in the choreography. In the second chapter, the researcher finds the different kinds of movements has each own unique characteristics by discussing the different cultural developments and the diversities of training performers’ body in Peking Opera and Post-Modern Dance. In the third chapter, according to the interview records of the choreographer and performers, the researcher discovers the physical and mental conflicts of dancers and Peking opera actors in their rehearsal practice, and how they change the efforts of Peking Opera movements in Most-Modern Dance form to present a new style performance. In the fourth chapter, the researcher integrates the three choreography record analysis—Stylistic Macrostructural Analysis, Macroanalysis, and Effort Elements. In Eastern Current, the researcher discovers the movements of this choreography have both characteristics of Peking opera and Most-Modern Dance. The elements and characteristics of every movement suggest the regularity of Peking Opera and the unpredictable Most-Modern Dance. In Eastern Current, the characteristics of Peking Opera movements which have the quality of direct and low body weight are affected and transformed into stable and unpredictable characteristics by Most-Modern Dance with the usage of repetition, expansion, and contraction. After analyzing the choreography, the researcher discovers although Yang Ming Long has some difficulties and conflicts during creating the choreography Eastern Current for Dance Forum, he transforms and integrates successfully the two different kinds of movements which look like matched and correspond to each other in the choreography into an unstable and new style performance including the properties of Peking Opera regularity and Most-Modern Dance diversity. Keywords: Eastern Current, Peking Opera movement, post-modern dance, Stytlistic Macrostructural Analysis, Effort Elements

碩士
臺北市立大學
中國語文學系
107
The story of Mulan comes from the Yuefu folk song "Mulan" of the Northern Dynasty . The main song is the heroic story of Mulan " Loyal"," Filial ","Brave", and" Ambiguity". It’s also rare for the dynasties to adapt it to drama performances. But they all use the patriarchal center to describe the filial piety of Mulan as she fight out for her family and her father. Finally, she still necessary to return to the true role of women in the "family" . To modern, Hyundai began to have a gender－free state that broke through the male perspective to see it as a "person." Especially the inner world of "woman". 　　First is Huizhu Yan version of Peking Opera "Mulan from the Army"in1953. Mulan breaks through the gender division of labor and creates the patriotism of "everyone is a soldier" It is the beginning of the modern Mulan’s challenge about gender restriction. 　　The second is Xianyuan Lin version of the Taiwanese opera "Mulan " in 2003, that breaking through the gender and doing their own. Gender disorder becomes an important conflict in drama. After a lot of self-sexual suspicion and reinvention, that form a new gender role identity in their mind. In the end, become the modern Mulan that break through the gender and be their own. All the roles for Mulan, just set for women and for actors. 　　Finally, Bojun Cai’s musical "Mulan Girl" in 2010. Boldly challenge the moral issues of homosexuality, sissy and love triangles and unmarried pregnancy. In the play, it listed many gender stereotypes and prejudices in Taiwan’s current society. There is a setting of "involuntary"fight out and not masculine in Mulan’s role. The role of having a "female conscious" outlook on life breaks through the passive image of traditional women, allowing Mulan to have both femininity and autonomous side. 　　The stuy can be said to reproduce the gender theme corresponding to the era through the adaptation of the story. Therefore, this study attempts to analyze the gender consciousness in Mulan plays from these three different dramas and kinds of operas to present the era. It also can show the evolution track in recent 50 years. Keywords："Mulan" ,"Mulan from the Army", "Mulan " , "Mulan Girl",Gender Consciousness

碩士
國立臺北藝術大學
音樂學研究所碩士班
94
Modern semiotic theories are applied to theater since 1931. In Prague, the capital of Czech Republic, Russian formalistic critics cited theories of Saussure and Peirce to make advanced development in Semiotics of Art. After that, Prague school continually published many works on Semiotics of Theater, which opened a new field of vision for study on theater. For recent years, some theses on semiotic analysis of Peking Opera Theater or Peking Opera incidental music are published. This thesis puts emphasis on the study of the semiotics hidden in the Peking Opera singing patterns, targeting on the singing patterns employed in “ The Forth Son Visiting His Mother” to investigate how the system of Sipi Patterns constructs meanings in Peking Opera, and furthermore to analyze the semiotic properties of singing patterns with the theories of Saussure and Peirce. While making thorough understanding how the touching factors interact with audience through symbols in the singing patterns of “The Forth Son Visiting His Mother”, we hope to do some more initial-stage works on forming the basis of Semiotics of Peking Opera singing patterns.

碩士
國立藝術學院
戲劇學系戲劇碩士班
88
Abstract Generally speaking, one thinks of Peking Opera as a traditional performance system in which experimentation only plays a minor role; it is a fact that because of its sophisticated sign system, convention in Peking Opera is not changed as easy as in the case of regional theatre, folk theatre and Western spoken theatre. From the twentieth century on, however, the influence of foreign ideas caused Peking Opera and other Chinese art forms to gradually westernize. I do not intend to analyze this early experimental stage, but closely consider how local theatre, realism and world classics have influenced the role categories in contemporary Peking Opera (i.e. operas in the period after 1949). In my thesis I choose to analyze exquisite fragments of the contemporary plays Mu Kuei-ying Takes Command (1959), Red Azalea Mountain (1974) and Kingdom of Desire (1986) because their performance art is representative of the experimentation in the contemporary classic theatre. Except for the performance an sich, I also add a chapter on the social background and the characterization in the textual play for each fragment. In the first play Mu Kuei-ying Takes Command Mei Lan-fang impersonates the role Mu Kuei-ying. Although Mei Lan-fang is mostly thought of as the symbol of traditional Peking Opera, but he already began to perform experimental plays in modern dress in the early twentieth century. As soon as he realized the new dress and the codified movements did not harmonize, however, he gave up similar experiments. But during the campaign of "Let a Hundred Flowers Bloom" in the late fifties. Mei had to think of a new creation that fit the ideology of that period. He chose to adapt a play he had once seen in the Honan province because the theme of an old Mu Kuei-ying who decides to fight for the fatherland greatly suited the taste of the communist government. Mei Lan-fang became inspired by the "female warrior" character role that is typical for the Honanese Opera. As such he did not restrict himself to the available female character roles in Peking Opera to impersonate the heroine Mu Kuei-ying. The second play Red Azalea Mountain belongs to the revolutionary Peking operas of the seventies. As the content is related to the communist revolution, the actors use Peking Opera and realistic movements. The analysis of the fragment ''Azaleas in Spring'' points out that the leading actress combines techniques that belong to the female and male character role. Moreover, even in great distress the heroine never looks miserable as often is the case with heroines of the classical repertoire; she is willing to sacrifice everything for the sake of the Party. The story of the Taiwanese production Kingdom of Desire is inspired by Shakespeare''s Macbeth. Similar adaptations of western classics became very popular across the straits after the eighties. In 1986, for example, Shanghai organized a Shakespeare Festival in which tens of regional theatre troupes interpreted Shakespeare in their own way. The analysis of Kingdom of Desire is very useful to better understand how Peking Opera actors create roles that have not been taught by their master. In this play Taiwan''s leading actress Wei Hai-min combines different aspects of several female roles in Peking Opera and creates movements to cope with the newly designed clothes. It is clear from the fragment ''Washing of Hands'' , however, that the actress does not give up the basic aesthetics of Peking Opera. By analyzing this play I want to understand what effect Western classics have on the classical Peking Opera and how performers cope with this innovation. Through my analysis of the three contemporary plays, I attempt to map out the big currents of experimentation within the contemporary Peking Opera. I conclude by stating that contemporary Peking Opera should continue with absorbing external influences. But this does not mean Peking Opera may be changed into a Western Theatre piece. Although the spoken theatre and film also have their performance code, but when experimenting with Peking Opera one should realize that the system of character roles which is closely interrelated with the Peking Opera should remain intact. That''s why post-modern pieces that put together various art forms but give up these character roles are not included in the discussion. They belong to so-called avant-garde. The thesis wants to demonstrate that (1) local theater plays an important role in the modernization of Peking Opera , (2) the performance system of revolutionary opera may be a valuable reference for further experiments and (3) foreign roles may greatly expand (and expanded already) the characterization within Peking Opera. It is a pity that on both sides of the Straits too much emphasis is put on the ''outstanding contributions'' of a specific troupe without creating pieces that have become popular. What the future Peking Opera mainly needs is not only innovation, but reflection on past experiments and cooperation between the troupes.

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

博士
國立中央大學
中國文學系
103
Chi Ju-shan: Pioneer of Peking Opera as Cultural Heritage On Chi Ju-shan in the 1930s, the Beiping Guoju Xuehui, and Its Publications Abstract Chi Ju-shan (1875-1962), an innovator and playwright of Peking Opera, was also a pioneer in the theory and academic study of this dramatic art from. In Taiwan, his contributions to the history of Peking Opera are generally seen as (a) his participation in the reform movement of Mei Lanfang, (b) his leading role in the study of the staging elements of Peking Opera, and (c) his efforts after coming to Taiwan to raise the status of Peking Opera, train Peking Opera performers, formalize the doctrine and elements of Peking Opera, and change more lives by bringing people into contact with Peking Opera education. In Taiwan he is known as a “Maestro of Peking Opera,” and analysts of his place as a playwright and innovator have even gone so far as to raise him to the status of “China’s Shakespeare.” In mainland China, on the other hand, in recent years scholars have often defined Chi Ju-shan as “a pioneer in the reform of Chinese opera.” Whether it be studies that define him as a “director” participating in Mei Lanfang’s reform movement, that emphasize the “artistic reformist” nature of his academic studies, or that see him as a colleague and peer of opera reformers of the same era (such as Weng Ouhong), all indicate the viewpoint from which the mainland Chinese academic community sees Chi Ju-shan. The research perspectives on, and definition of the status of, Chi Ju-shan on the two sides of the Taiwan Strait suggest underlying ideological factors stemming from specific contexts. This study explores the definition of the status of Chi Ju-shan in the history of the academic study of Peking Opera. In terms of methodology, this study does not adopt a macro-view of Chi Ju-shan’s life in Peking Opera, but rather looks specifically at Qi’s 1930’s Peking Opera research, and at Qi’s Beiping Guoju Xuehui (Beiping Association for the Study of Peking Opera, aka Peking Opera Association), the “first institution in the history of Chinese theater to be specifically dedicated to the study of the dramatic arts.” In concrete terms, this study will be a micro-view analysis of the content that Chi published in the Association’s periodicals Xiju Congkan [Drama Digest, aka Journal of Drama] and Guoju Huabao [Peking Opera Pictorial, aka National Drama Pictorial]. The conclusion of the study is that Chi Ju-shan seized a critical moment in the history of Chinese drama in the 20th century to make ground-breaking new systematic studies of, and theories about, the materials and content of Peking Opera. He not only left a record for future generations of opera artefacts that would otherwise have been lost through war, chaos, or the simple passage of time, he also pioneered the study of many aspects of this dramatic form that were ignored or taken for granted, including gestures and movements, facial makeup, and nomenclature for roles; staging and stage structure; and the religious beliefs associated with traditional Chinese drama. Chi Ju-shan should be seen as having a critical role as the pathfinding figure in the intellectual study of Peking Opera. It is especially important to note that Chi’s research into Peking Opera in the 1930s was influenced by the trend led by Hu Shih in Beiping to use scientific methods to itemize, define, categorize, and analyze traditional Chinese culture—to rationalize it, not eliminate it. Chi was an admirer of traditional Peking Opera; he wanted to consolidate and preserve Peking Opera, not to “reform” it or “advance” it. His explorations looked backward in time to the past. Therefore, Chi’s role not only was not that of a “reformer of Peking Opera,” but rather more like that of a “conservationist of the cultural heritage of opera.” Chi’s study of Peking Opera in the 1930s was an in-depth exploration of the range and parameters of the idiom’s form, language, and roles. The maxims that he developed and that are still familiar today, such as “if there is vocalization of any kind, spoken or sung, it must be stylized and song-like” and “if there is movement of any kind, it must be stylized, artful, and dance-like”—which have had a definitive impact on the special characteristics of the language of Peking Opera—are closely connected to the intellectual work he did in the 1930s. Key words: Chi Ju-shan, Peking Opera studies, Beiping Guoju Xuehui, Xiju Congkan, Guoju Huabao

碩士
國立臺灣藝術大學
舞蹈學系
103
Opera is a treasure of Chinese culture. The performance of the Chinese Opera is presented primarily through singing and dance movements. This research was designed to investigate the importance of the role dance movement plays in Chinese Opera, and analyze the evolution of the different horseship postures on stage of Kun Opera and Beijing Opera versions “Zhaojun Leaves the Country.” The evolution of the different horsewhip postures on the stage, and the impact on the interpretation of the role of dance drama were expected to provide a reference of creation for opera and dance performers. The four opera performers analyzed for this study were Xiao-Yun Shang, Zheng-Qiu Gu, Hai-Ming Wei, and Rui-Lan Tang. Qualitative documents and observations were collected for analysis. Based on the image capturing data, drawings of dance tracks and text commentary were created to explain each horsewhip figure movement. The conclusions drawn from the analysis of this data are summarized as follows: 1) Through the interpretation of the four famous performers’ use of horsewhip postures on stage “Zhaojun Leaves the Country,” it highlights the importance of the dance movements in Chinese Opera. 2) To sum up, the developments and changes of the different horsewhip postures of the four famous performers have been evolved and refined from “Civil Opera with Military Style” to “Civil Opera with dancing and singing.” 3) By innovating and re-arranging the movements of opera dance, the performers shape the roles and create their own personal styles. 4) The provided research results analyzing the evolution of the horseship postures of the four performers using “Martial Arts” and “Dancing” styles, can be used as a reference for future creators.

博士
國立中央大學
中國文學系
106
In the late Qing Dynasty and the early Republic of China, the Chinese society went through an all-aspect transformation under the impact of western trends, the art of Chinese opera, a form of mass entertainment, was no exception. Under the influence of western culture, the Chinese society slowly changed its traditional view on opera where it was used to be considered as inferior and degrading. However, through new multimedia technologies such as the press, printing, and photography, Chinese opera actors stepped into the limelight and became nationally famous entertainment stars. Afterward, the “actors praising” culture was gradually formed in the opera community the Chinese opera represents. This paper takes the “Actor praising” trend started in the late Qing Dynasty and the early Republic of China as its research topic, analyzes thoroughly the intension of “Actor praising”, explores its origin, development, the community group, its activities and the relationship between the admirers and the opera actors. The “Actor praising” reconstructed the relationship between admirers and opera actors in traditional opera, and it had a profound impact on the creations of Chinese opera stars in modern times.