查詢結果分析
相關文獻
- 明清以來〈拾畫〉〈叫畫〉折子戲文本及其演出之探討
- 評:史愷悌(Catherine C. Swatek), Peony Pavilion Onstage: Four Centuries in the Career of a Chinese Drama (Ann Arbor, Mich.: Center for Chinese Studies, The University of Michigan, 2002)
- 從明清縮編版到現代演出版《牡丹亭》--談崑劇重構的幾個關鍵
- 《才子牡丹亭》作者考述--兼及〈笠閣批評舊戲目〉的作者問題
- 「牡丹亭.驚夢」之花神演出考
- 從《牡丹亭》到《風流夢》:馮夢龍戲劇理論初探
- 「牡丹亭」中的生死情愫
- 性別與戲曲批評--試論明清婦女之劇評特色
- 則為你如花美眷,似水流年--「牡丹亭.驚夢」的詮釋及演出
- 臧懋循批改本《還魂記》之評析
頁籤選單縮合
題名 | 明清以來〈拾畫〉〈叫畫〉折子戲文本及其演出之探討=From Texts to Performance: “Shihua” and “Jiaohua” of the Zhezi Plays since the Ming-Qing Dynasties |
---|---|
作 者 | 李惠綿; | 書刊名 | 臺大中文學報 |
卷期 | 29 2008.12[民97.12] |
頁次 | 頁221-223+225-268 |
分類號 | 982.521 |
關鍵詞 | 湯顯祖; 牡丹亭; 拾畫; 叫畫; 玩真; 折子戲; Tang Xianzu; Mudan ting; Shihua; Jiaohua; Wanzhen; Zhezi plays; |
語文 | 中文(Chinese) |
中文摘要 | 〈拾畫〉〈叫畫〉是崑劇《牡丹亭》獨唱獨做的折子戲,文靜細膩,是高難度的巾生戲。本文比較湯顯祖原著〈拾畫〉〈玩真〉與改編本之差異。其次,從明清北劇南戲選本、舞臺演出本和身段譜,觀察舞臺演出的變化過程。再從清代工尺譜之差異,比較樂工定譜的內在意義。最後,分析俞振飛(1902-1993)、周傳瑛(1912-1988)、浙崑汪世瑜(1941-)、上崑岳美緹(1941-)、蘇崑石小梅(1949-)等近現代崑劇表演藝術家,對〈拾畫〉〈叫畫〉折子戲舞台表演之差異。檢閱湯顯祖《牡丹亭》相關研究之成果,對〈拾畫〉〈叫畫〉的著墨略少,本文嘗試藉〈拾畫〉〈叫畫〉印證崑劇折子戲從文本到定型的歷史發展。 |
英文摘要 | The ”Shihua” 拾畫 and ”Jiaohua” 叫畫 in the Kun opera Mudan ting 牡丹亭 are both regarded as independent zhezi (opera-drama sketches) 折子 plays. The two plays are not only graceful and exquisite but also belong to highly difficult jinsheng 巾生 (scholar) plays. This paper will first compare the differences between the original and adapted versions of ”Shihua” and ”Wanzhen” 玩真. Secondly, the author observes the transformative process of stage performance by exploring selected Northern operas and Southern plays, texts for stage performance , and shenduan pu 身段譜 (notes of body language) in Ming and Qing dynasties. In addition, the differences of gongchi pu 工尺譜 (music scores) will be examined in order to shed light on the internal meanings of the scores composed by Qing musical artists Finally, the paper will analyze the differences among the stage performances on ”Shihua” and ”Wanzhen” by modern actors/actresses, including Yu Zhenfei 俞振飛(1902-1993), Zhou Chuanying 周傳瑛 (1912-1988), Wang Shiyu 汪世瑜(1941-), Yue Meiti 岳美提 (1941-), and Shih Xiaomei 石小梅 (1949-). In view of the conspicuous lack of discussion on ”Shihua” and ”Jiaohua” in current studies of Tang Xianzu's Mudan ting, the paper, by way of examining ”Shihua” and ”Jiaohua,” will make a special contribution to our understanding of the historical process through which zhezi plays in the Kun opera had consolidated from original texts. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。