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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/68092

    Title: 臺灣的京劇創作與改編(1949-1965)-由政治與社會觀點的考察;Playwriting of Peking Opera in Taiwan (1949-1965)- A Political and Social Perspective
    Authors: 黃書瑾;Huang,Shu-Chin
    Contributors: 中國文學系
    Keywords: 京劇;反共抗俄;政策戲;Peking opera;anticommunist and opposing Russia;policy plays
    Date: 2015-07-27
    Issue Date: 2015-09-23 10:44:14 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 本文在解題時,以「臺灣的京劇」與「京劇的創作與改編」為兩個出發點,將之置於政治與社會變遷兩個塊面中考察,時間跨越日治時期、抗戰時期至遷臺以後,探討其間的互動關係,即:政治型態如何在京劇發展中尋求突破口,制約或推動京劇的創編;而社會條件的變遷,為京劇發展形構甚麼樣的市場,市場與藝術本身的性格如何對政治要求的京劇創編予以回應。此際的京劇發展計有幾項特質:(一)政策發展因循抗戰時期模式;(二)京劇被意圖塑造為文化宣傳利器,創作政策戲,但與藝術導向的創作並行不悖,且政策戲反應不佳;(三)京劇借助媒體發展更為普及;(四)審查制度宰制創作與搬演,使營生困難,劇團、演員逐漸歸併軍中以求溫飽;(五)伶、票界線趨於模糊;(六)劇校體制成形,新生代演員長成,登上舞臺。簡而言之,此時期的京劇在臺灣,一面尋求開創格局,一面又因為政治、社會的條件影響下為壓抑。不過,京劇的藝術導向並未為政治考量全然抹煞,此一年代或可視為整頓的時期,而最終為京劇淘洗出最適合它的發展模式。;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.
    Appears in Collections:[中國文學研究所] 博碩士論文

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