完整後設資料紀錄
| DC 欄位 | 值 | 語言 |
|---|---|---|
| dc.contributor.author | 陳富容 | |
| dc.contributor.other | Fu-Jung Chen | |
| dc.date.accessioned | 2020-08-25T06:59:38Z | - |
| dc.date.available | 2020-08-25T06:59:38Z | - |
| dc.date.issued | 2012/10/24 | |
| dc.identifier.issn | 1682-587N | |
| dc.identifier.uri | http://dspace.fcu.edu.tw/handle/2376/2483 | - |
| dc.description.abstract | 戲曲是中國傳統文化的寶貴資源，它融合唱腔與身段，借以傳達文學的意境，是一種極美的藝術形式。這種傳統藝術，於元代正式形成，歷經明清兩朝而達於極盛。發展至今，中國戲曲正面臨了一種傳統與現代的接軌及試煉。如何用傳統的藝術形式表達嶄新的文學意境，是現代戲曲工作者亟欲追尋的一個答案。_x000D_ 在中國各種傳統戲曲尋求新路的過程中，筆者發現一個十分有趣的現象，即它們紛紛選擇了魯迅小說，做為試煉的舞台。如越劇的《祥林嫂》、京劇的《阿Q正傳》、曲劇的《阿Q與孔乙己》及最近演出的崑劇《傷逝》等，都是各劇種中第一次嘗試將中國現代小說搬上舞台的作品。可以說他們都選擇了魯迅小說，做為他們戲曲改革的重要里程碑。也因此使得魯迅小說，成為中國傳統戲曲與現代文學融合的重要推手，故其演出現象，格外值得觀察。_x000D_ 故本文根據劇種特色與歷史，及其演出作品的內涵，選擇了可以互相借鑑的越劇《祥林嫂》與崑劇《傷逝》兩部作品，希望透過分析與比較，能更深入了解傳統戲曲的革新之路，與現代文學的舞台呈現。 | |
| dc.description.sponsorship | 逢甲大學 | |
| dc.format.extent | 18 | |
| dc.language.iso | 中文 | |
| dc.relation.ispartofseries | 逢甲人文社會學報 | |
| dc.relation.isversionof | 第十三期 | |
| dc.subject | 越劇 | |
| dc.subject | 崑劇 | |
| dc.subject | 魯迅小說 | |
| dc.subject | 祥林嫂 | |
| dc.subject | 傷逝 | |
| dc.subject.other | Shaohsing opera | |
| dc.subject.other | Kunshan opera | |
| dc.subject.other | Luu-Shiunn’s novels | |
| dc.subject.other | blessing | |
| dc.subject.other | depression for passing away | |
| dc.title | 越劇《祥林嫂》與崑劇《傷逝》－從魯迅小說的改編演出看兩個不同劇種的改革 | |
| dc.title.alternative | Shaohsing Opera Shyangllin Sao and Kunshan Opera Depression for Passing Away—Discussion on the two types of drama reformation Based on the Performances Adapted from Luu-Shiunn’s Novels | |
| dc.type | 期刊篇目 | |
| dc.description.translationabstract | Chinese opera has been one of the valuable properties of Chinese traditional culture. Blending tunes and figures, the opera, as a wonderful form of art, elevates the audience to a spiritual level. This traditional art was formed in the Yuan Dynasty and reached its peak in both the Ming and Ching Dynasties. Now, it is facing an_x000D_ inevitable test of mixing traditional and modern forms. Therefore, some modern Chinese dramatists are eager for a resolution to this situation._x000D_ In the process of seeking a new direction for the various kinds of Chinese traditional drama, I have found an interesting phenomenon that Luu-Shiunn’s novels were widely chosen as testing materials, such as Shyang-Lin Sao, a Shaohsing opera, Ah-Kui’s Biography, a Peking opera, Ah-Kui and Koong Yill-Jii, a Song opera, and_x000D_ Depression for Passing Away, a Kunshan opera, which were performed on the stage recently. All of them are the first works displaying the combination of modern Chinese novels and traditional drama on the stage. Apparently, Luu-Shiunn’s novels have become an important milestone of dramatic improvement. Therefore, the_x000D_ performance of his works is worth our observation._x000D_ The article, thus, discusses and compares Shyang-Lin Sao, a Shaohsing opera, and Depression for Passing Away, a Kunshan opera, in the perspectives of the characteristics of the kind of opera, their history, and the stage performances, so that we can comprehend more deeply about the future reformation of traditional Chinese drama. | |
| 分類: | 第13期 | |
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