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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/71261

    Title: 外台歌仔戲胡撇仔戲服飾研究--以台北藝人為例;The case study of the outdoor opera (o-pe-la)costumes
    Authors: 徐祥峯;Hsu,Hsiang-Feng
    Contributors: 中國文學系
    Keywords: 外台歌仔戲;胡撇仔戲;胡撇仔戲服飾;戲曲服飾;Taiwanese opera of outdoor stages;o-pe-la;the costumes of o-pe-la;costumes
    Date: 2016-07-25
    Issue Date: 2016-10-13 12:38:53 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 台灣在地孕育的劇種-¬-歌仔戲,由於是個年輕劇種,較沒有歷史的包袱,又在其發展過程中,經歷不同政權的統治,因此包容性與吸收能力較強,不管什麼樣的元素,只要認為有幫助於演出效果,就可以直接置入於歌仔戲中,養成「拿來就用」的習慣風氣,而服飾的變化亦是如此。




    ;Taiwanese opera originated in Taiwan. It is rather new in the traditional drama history. Therefore there is comparatively no burden of history. In its development process, it can experience different regime′s rule, inclusion and make it have strong absorptive capacity. No matter what kind of elements, if it can help to show the effects, it will be directly placed in the opera, to develop "brought on by" customary ethos. This is very common in its costumes.

    In the early development, the shows were more traditional repertoire. The costumes mostly inherited from other traditional opera systems, but after it influenced by the Japanese during the Colonial period, especially on the outdoor stages, with the impact of the "New drama" and other factors, the new style of performance ‘o-pe-la’ was born. It affected the performance of the original style and the costumes. It led the traditional Taiwanese opera to a more creative o-pe-la style..

    Actually, it had a little change of the costumes in the period of the opera house. However when the shows performed from the indoor to the outdoor, the shows mostly performance at night, they needed more fascinating elements to catch the audiences’ eyeballs. Even the actors and actresses loved to be the most fabulous on the stage. They were crazy to pursue shinning and fabulous costumes. It brought a hung change for the costumes of the outdoor stages period.

    In response to social changes, many performances shifted from the opera houses to the outdoor stages. The selling point of the opera was not only the drama. It shifted to the appearance of the actors and actresses in order to attract the audiences. And also the opportunity to perform was intensively competitive, the actors and the actresses would like to make extra effort on the costumes. Therefore, this study focuses on the factors which affect the development of the costumes for the outdoor opera stages. In addition, it will compare with the styles and purposes between the costumes of nowadays and the past.

    In this paper, it is the study of the outdoor stage of Taiwanese opera, including the general scope of o-pe-la, the requirements and the patterns of the performance. At the same time, organize the historical context and the differences between the characters, and then explore the fabric needs for the market and the needs of individuals and actors. And from the actors, the audience, costume creators angles, respectively, to understand their aesthetic ideas, why would such form of outdoor performance happened. Finally to make a summary, through a combination of mass popular culture and material culture, combined with comprehensive analysis on opera costumes aesthetic value of the outdoor stages, and put forward the prospects for its future, and reflection on cultural heritage implications.
    Appears in Collections:[中國文學研究所] 博碩士論文

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