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|Authors: ||葉怡均;Yeh, Yi-Chun|
|Keywords: ||女相聲;相聲;女演員;口語;滑稽表演;Female’s Xiangsheng;Xiangsheng（Crosstalk）;actress;oral;farcical performance|
|Issue Date: ||2019-04-02 14:12:45 (UTC+8)|
;The Research on Female’s Xiangsheng
Xiangsheng（Crosstalk）is a Chinese traditional oral and farcical performance. When performing, telling is its main skill and teasing is its tool at the head. It is risen up from the areas of Beijing and Tianjinand spread over everywhere. It is delighted to watch and see in the Chinese districts. Although there are many actors and researchers, they never explore, on the gender point of view, the female unique situations in Xiangsheng industry. This thesis will establish a precedent studying the topic on the female in Xiangsheng industry.
The thesis is studied about“Female’s Xiangsheng”. The studying area is limited in mainland China and Taiwan and the studying scope has begun from1930’s which the actress joined the Xiangsheng performing. Under the teaching and the script controlled by the male master, the actress could only imitated man’s performing and made the audiences laugh to live a life at those times. The actresses didn’t think that they needed to change. Until 1950’s, the actors criticized seriously to point out that the female should not be suitable for the performance of Xiangsheng. The actresses were just aware that they did not accord completely to the industry from now on and started to search for how to make differences with the actors. They broke out with the image “Tomboy” to blossom the female charming in the performance and tailored to write the scripts by themselves. As a result, Female’s Xiangsheng came to appear, although it had been once up and down, the concept of Female’s Xiangsheng was concrete and the pieces of works were more and more diversified. But, Female’s Xiangsheng did not set a public paradigm and many actresses chose to change the career. Therefore, the thesis looks forward to exploring the reasons by the aspects of form, context and aestheticsin the art of Xiangsheng.
There are three characters in the thesis. At the first, the author is an Xiangsheng actress who has told Xingsheng over 30 years and had the deep experience for the female performing. Born in Taiwan and not be bounded by the traditional and principle notion, the author can check out the cognitive distinctions of the female actors in different cultural context through comparing with Talk Show and Xiangsheng. Secondly, the author was familiar with theexperts of Xiangsheng in the main China and Taiwan, so the thesis uses them as exploring and interviewing targets by the mainbone of history and the flesh of performer to depict the confliction, limitation, awakening for the female in Xiangsheng industry. Thirdly, the thesis collects and deals the classic works of the Female’s Xingsheng to represent their endeavors and to offer references for the Female’s Xingsheng studying and creations in the future.
|Appears in Collections:||[中國文學研究所] 博碩士論文|
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