English  |  正體中文  |  简体中文  |  Items with full text/Total items : 54367/62174 (87%)
Visitors : 14945906      Online Users : 55
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTHU Library IR team.
Scope Tips:
  • please add "double quotation mark" for query phrases to get precise results
  • please goto advance search for comprehansive author search
  • Adv. Search
    HomeLoginUploadHelpAboutAdminister Goto mobile version
    National Tsing Hua University Institutional Repository > 清華出版品 > 01 清華學報 > 新22卷第4期 >  從折子戲到全本戲─民國以來崑劇發展的一種方式

    Please use this identifier to cite or link to this item: http://nthur.lib.nthu.edu.tw/dspace/handle/987654321/75543

    Title: 從折子戲到全本戲─民國以來崑劇發展的一種方式
    Other Titles: From Che-Tzu Hsi To Chuan-Pen Hsi -A New Development In Kun Theater-Performing Since 1911
    Authors: 王安祈;An-Chi Wang
    Date: 1992/12
    Publisher: 國立清華大學出版社
    Relation: 清華學報,國立清華大學,1992,new,v.22,n.4,p367.
    Keywords: 崑劇發展
    Abstract: 由「競演全本」到「摘段成折子」,可以視為傳奇自明中葉到清乾隆年間的一條主要發展線索。到目前為止,「折子戲」不僅是公認足以凝聚崑劇表演精華的代表典範,更被當作近代崑劇演出型態中最正宗的一類。本文則試圖通過具體的資料,勾畫出「從折子到全本」這樣一條新的線索,透過「折子→串折子成全本→整理傳奇成全本→改編傳奇成全本→新編全本」這個過程的架構,不僅可清楚呈現民國以來崑劇演出的另一種方式,更可從中探尋出近代崑劇藝術工作者在「繼承傳統」之外的創發精神。
    Between the middle of the Ming Dynasty and that of the Ching Dynasty, it was the main current within the tradition of Chuan-chi (the Romance play) to perform only one or two acts of a play instead of the complete one. Insofar
    as this particular literary phenomenon is concerned, che-tzu hsi (one-act per-forming) has become the dominant feature in the Kun theater-performing tradition. By offering certain standards that should be kept up, che-tzu hsi has been seen by contemporary playwrights as the very typical example of the art of Kun theater-performing. The present study, by contrast, will focus on a new development in Kun theater-performing since the founding of the Republic. By reviewing and examining the extant materials, it is clear that the development of Kun theater-performing since 1911 appears to have followed the"from one-act-performing to complete- performing"pattern. That is, it is through"certain acts of a play (which might be incomplete already)"to"editing certain extant though incomplete acts to make a complete play"to"revising a complete play"and, finally, to"adapting and even rewriting a 'romance' play". It can be said that there arises a new form of performing Kun theater since 1911, and that contemporary playwrights possesses powers of invention through
    their connection with classical literary tradition. I hope, therefore, that this research will bring a new light on the study of
    Kun theater-performing.
    URI: http://thjcs.hss.nthu.edu.tw/catalogue_detail.php?id=273
    Appears in Collections:[01 清華學報] 新22卷第4期

    Files in This Item:

    File SizeFormat
    JA01_1992_p367.pdf1483KbAdobe PDF297View/Open


    SFX Query


    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - Feedback