| dc.description.abstract | The aim of the thesis focuses on the actors and Chinese geisha in Shi Shu Ching’s “Passed through Luo Jin” based on the context structures of the stage in Chhit-Kioh-Hi and its social cultural background.
The first chapter is the introduction which explains the reserach motivation and literature reviews, developing the questions through reviews of literature.
The second chapter starts with the origin of Chhit-Kioh-Hi, exploring the drama contexts by the unique features of young actors, the movement of puppets, the arrangement of the royal settings in “Passed through Luo Jin”. The atmosphere shows how people appreciate dramas from the oberservation of the local religious architectures, demographic structure and economic develepment in Luo Jin which corresponds to the reasons why Hsu Ching passed through Luo Jin thrice. Additionally, Chhit-Kioh-Hi at that time was popularized and prevailed in the temple celebration, which was proved by historical records and works in the past.
The third chapter concentrates on the origin and following development of young actors in Chhit-Kioh-Hi from the viewpoint of how they learned acting and prolonged adolescent change of voice, which also explains the peeking favor of intellectuals and businessmen. From the gender perspecitve, the study probes gender consciousness of actors, troupe ,Chinese geisha with the comparison of well-known Nanguan drama Li Jing Ji.
In the fourth chapter, the beginning of Chinese geisha in the final Qing Dysnasty was observed from the selling-daughter contracts in the novel. The process of how the Chinese geisha learned acting, being foot-binding, and being tooth-darkening is interpredted as a new view of Chinese thousand-year lasting prostitute culture moving to Taiwan. The study thoroughly investigates the actors after they got retired and development in the future.
The fifth chapter concludes actors and Chinese geisha’s splendid performace on stage and figure off stage by reviewing over the novel.
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