 |
English
|
正體中文
|
简体中文
|
Post-Print筆數 : 27 |
Items with full text/Total items : 113648/144635 (79%)
Visitors : 51603101
Online Users : 450
|
|
|
Loading...
|
Please use this identifier to cite or link to this item:
https://nccur.lib.nccu.edu.tw/handle/140.119/118107
|
| Title: | 當代兩岸歌仔戲的交流與對話 |
| Authors: | 蔡欣欣 |
| Contributors: | 台文所 |
| Keywords: | 歌仔戲 ； 薌劇 ； 兩岸歌仔戲 ； 交流 ； 解嚴
Gezai opera ； Xiang opera ； Gezai operas across the Taiwan Strait ； Communication ； Abolishment of martial law |
| Date: | 2014-08 |
| Issue Date: | 2018-06-28 14:08:51 (UTC+8) |
| Abstract: | 被視為並蒂姊妹花的「臺灣歌仔戲」與「閩南薌劇」，在日治時期與戰後初期交相往來；然自1949年兩岸進入軍事對峙局面，遂中斷了彼此的交流，在各自的歷史語境與社會結構中發展演化。直到1987年臺灣解嚴，兩岸歌仔戲才從憑藉大眾傳媒的私下偷渡，逐步復甦開啟交流網絡，且陸續在劇壇生態、經營策略、創作思維、演藝空間、演劇景觀與學術論證等面向開展多元交流與對話。本文通過報刊史料、前賢論著、劇團訪談、演出觀察等研究途徑，細緻梳理從1949年到1986年的「潛流接觸期」，1987年到2000年的「拓展對話期」，以及2001年至2012年的「多元活絡期」等「當代」兩岸歌仔戲交流的歷史印跡，以及所引發的參照借鑑或影響反餽等現象。
The ＂Taiwanese Opera＂ and the ＂Minnan Xiang Opera＂ are regarded as the twin sisters, which were interacting in the Japanese colonial period and the early postwar period. Communication between the two operas stopped naturally when military confrontation happened across the Taiwan Strait in 1949, so they developed in their own historical environment and social structure. Since the martial law was lifted in 1987, the Gezai operas across the Taiwan Strait have gradually communicated through the mass media, and the multi-way communication and conversation has slowly started in ecology of theatrical circles, operating strategy, creative thinking, performance space, histrionic landscape, and academic argument. In this paper, we carefully sort out the historical communicating records of the ＂contemporary＂ Gezai Operas between Taiwan and China mainland from the ＂secret contact＂ between 1949 and 1986, the ＂conversation expansion＂ between 1987 and 2000, to the ＂multi-way dialogue＂ between 2001 and 2012, and phenomena like reference or influence and feedback occurs accordingly through research approaches such as historical records of the press, works of the predecessors, interviews of the opera troupes, and observation of the performances. |
| Relation: | 中華藝術論叢, No.12, pp.50-93 |
| Data Type: | article |
| Appears in Collections: | [臺灣文學研究所] 期刊論文
|
Files in This Item:
| File |
Description |
Size | Format | |
|---|
| 5093.pdf | | 5728Kb | Adobe PDF2 | 417 | View/Open |
|
All items in 政大典藏 are protected by copyright, with all rights reserved.
|
著作權政策宣告 Copyright Announcement1.本網站之數位內容為國立政治大學所收錄之機構典藏，無償提供學術研究與公眾教育等公益性使用，惟仍請適度，合理使用本網站之內容，以尊重著作權人之權益。商業上之利用，則請先取得著作權人之授權。
The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.
2.本網站之製作，已盡力防止侵害著作權人之權益，如仍發現本網站之數位內容有侵害著作權人權益情事者，請權利人通知本網站維護人員(
nccur@nccu.edu.tw)，維護人員將立即採取移除該數位著作等補救措施。
NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(
nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.
