The Development Research of the Liyuen Opera in Fujian and Taiwan Since the Qing Dynasty
| Autor: | SHAN-FEI TSAO, 曹珊妃 |
|---|---|
| Rok vydání: | 2013 |
| Druh dokumentu: | 學位論文 ; thesis |
| Popis: | 101 The Development Research of the Liyuen Opera in Fujian and Taiwan Since the Qing Dynasty Abstract The local drama "Liyuan Opera" in Fujian was officially named in 1959. Among the people, the earlier accustomed terms were Road Above (Fujian), Road Below (or “lower south” literally), and sub-Liyuen (or “children opera” by meaning). The three factions possess respective characteristics and unique repertoire, and yet all performances are based on the Quanzhou dialect with Nan-quan music and the various “18-posture” program. There were even the “18 Pan Tou” oral formulas handed down from Road Above and Road Below. As early as in the Qing Dynasty, the Liyuan Opera had been performed abroad for festivals and rituals to cater to the immigrants from Zhangzhou and Quanzhou of Fujian. The Liyuan Opera had thus become the primary popular opera in Taiwan before mid-Qing Dynasty, and evolved into the all-child-actor Qi-zi Opera, which performed in the “internal theater” during the Japanese occupation. The paper aims to explore the development and activities of the Liyuen Opera in Fujian and Taiwan since the Qing Dynasty. In addition to a comprehensive reflection on the history, class organizations, performers, and theater arts of the three factions, the following is as well discussed: the traditional repertoire, foreign repertoire, New repertoire, inter-field cooperation performance, official culture policies in Fujian and Taiwan, subsidy mechanism of the Liyuan Opera, legacy education, and viewer reactions. The year of 1949 was not only the political watershed between China and Taiwan, but also the turning point into a new period for the Liyuan Opera. The Liyuen Opera in Fujian and Taiwan shared the same origin and yet developed distinctly due to humanity and performing circumstances. Therefore, the paper breaks through into a new dimension on the development and performing condition of the Liyuen Opera in the recent six decades that changed most dramatically. With the consideration that performing arts can hardly be reproduced, script, actors, stage, and audience all as a part of the integrity, the paper includes both literature review for clarity and fieldwork for analysis to present the distinct development courses, artistic features, and theatrical qualities of the Liyuan Opera. Keywords: Liyuan Opera, 18 Pan Tou, Qi-zi Opera, New repertoire, inter-field cooperation, legacy program, opera education |
| Databáze: | Networked Digital Library of Theses & Dissertations |
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