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    Please use this identifier to cite or link to this item: http://nthur.lib.nthu.edu.tw/dspace/handle/987654321/75573


    Title: 京劇理論在當代台灣的開展與局限
    Other Titles: The Progress and Limitation of Peking Opera in Modern Taiwan
    Authors: 王安祈;An-chi Wang
    Date: 2000/06
    Publisher: 國立清華大學出版社
    Relation: 清華學報,國立清華大學,2000,new,v.30,n.2,p193.
    Keywords: 京劇
    台灣
    Abstract: ABSTRACT
    In modern Taiwan, the theory of Peking Opera is divided into three phases. Before the end of 1970s, most critics focused on the actors' performance, the more an actor modeled himself on a great master, the more the critics were satisfied. Nevertheless, along with the foundations of ftnf/hifj and Contemporary Legend Theatre in the end of 1970s, the tides has changed. Voices from the creators and the producers of a drama turned louder and louder, their opinions can be seen most through the programs. In the beginning of 1990s, the interaction between the theatres of Mainland China and Taiwan reoccurred. Meanwhile, traditional critics faded away, scholars from various fields were invited as reviewers by newspapers and professional periodicals. They have brought a much wider perspective because of their non-professional background of Peking Opera, but the lack of understanding of this great art system has given rise to limitation.
    Key words: Peking Opera, Modernization of Peking Opera, ffi'T?'MI3,
    Contemporary Legend Theatre, Localization of Peking Opera
    URI: http://thjcs.hss.nthu.edu.tw/catalogue_detail.php?id=138
    http://thup.et.nthu.edu.tw/
    http://nthur.lib.nthu.edu.tw/dspace/handle/987654321/75573
    Appears in Collections:[01 清華學報] 新30卷第2期

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