Taiwanese opera - Wikipedia

Taiwanese opera (Chinese: 歌仔戲; pinyin: gēzǎixì; Pe̍h-ōe-jī: koa-á-hì; lit. 'Song Drama') commonly known as Ke-Tse opera or Hokkien opera, is a form of ... Taiwaneseopera FromWikipedia,thefreeencyclopedia Jumptonavigation Jumptosearch ATaiwaneseoperagroupperformingduringGhostFestival Taiwaneseopera(Chinese:歌仔戲;pinyin:gēzǎixì;Pe̍h-ōe-jī:koa-á-hì;lit.'SongDrama')commonlyknownasKe-TseoperaorHokkienopera,isaformoftraditionaldramaoriginatinginTaiwan.[1]TaiwaneseoperausesastylisedcombinationofboththeliteraryandcolloquialregistersofTaiwaneseHokkien.ItsearliestformadoptedelementsoffolksongsfromZhangzhou,Fujian,China.It’splotsaretraditionallydrawnfromfolktalesofthesouthernFujianregion,thoughinrecentyearsstoriesareincreasinglysetinTaiwanitself.TaiwaneseoperawaslaterexportedtootherHokkien-speakingareas,suchasSingapore,Malaysia,thePhilippines,andFujian,China. TaiwaneseoperaisconsideredastheembodimentofTaiwanesehistoryandtraditionbecausethepoliticalidentitycrisisofTaiwanshapeditsdevelopment.[2] Contents 1History 1.1Origin 1.2Formation 1.3Earlydevelopment 1.3.1Firstdecline:1936–1945 1.4Goldenperiod:1945–1962 1.5Transformation 1.5.1Seconddecline 1.6Future 2Performanceelements 2.1Maleleads 2.2Femaleleads 2.3Jester 2.4Costume 3Stagepropertiesandfigures 3.1Voices 3.2Instruments 4Performancetypes 4.1Three-roletea-pickingopera 5Seealso 6References 7Externallinks History[edit] Origin[edit] TaiwaneseoperaistheonlyformofHantraditionaldramaknowntohaveoriginatedinTaiwan,specificallyinYilan.Intheearlystages,mostHanimmigrantsinYilanwerefromZhangzhou,Fujian,bringingwiththemtheHokkienZhangzhoudialect.[3] Koa-áwerestory-tellingballadsspokeninHokkien.Eachlinecouldhavefiveorsevencharacters,andeveryfourlinesconstitutedaparagraph.[4] Formation[edit] Jinge(錦歌)istheforerunnerofTaiwaneseopera.Asearlyasseventeenthcentury,immigrantsfromsouthernFujian,ChinabroughtJinge,thepopularfolksongsthatsetthepoetryinlocaldialecttoTaiwan.Aroundnineteenthcentury,amateursingersinGilanmodifiedJingeandgraduallydevelopedanewstylecalledKua-a(Chinese:歌仔;pinyin:gēzǎi;Pe̍h-ōe-jī:Koa-á). OtherthanJinge,TaiwaneseoperaabsorbedthestylesofformaloperasincludingPekingopera,Luantanopera(亂彈戲),Sipingopera(四平戲),Liyuanopera(梨園戲),andGaojiaopera(高甲戲).Between1923and1949,PekingoperatroupesfromShanghaiandFujiantouredTaiwan.SomeactorsstayedinTaiwanandbecameperformingdirectorsofTaiwaneseoperas.TheinfluencesofPekingoperascanbeseeninrepertory,gesture,movement,percussionmusicandcostume.Fightingthemesandacrobaticmovementsbecamestandardsintheoperas.[5] Earlydevelopment[edit] TaiwanwasunderJapaneserulefrom1895to1945.Intheearlystage,JapangovernmentallowedthelocalcustomstodevelopwithoutmuchinterferenceandTaiwaneseoperacontinuedtothrive.InHo-yiLin’sbook“TaiwaneseOpera”,shedescribeshowTaiwaneseoperatookrootinChina.Shestated,“It’sworthnotingthatin1928,theSanLeHsuantroupe(三樂軒班),onapilgrimagetoWuWangTempleinsouthernFujian,performedwithgreatsuccessinBai-chiao(白礁)andXiamen…Insuccession,TaiwanesetroupessuchasNiSheng,NiKuan,DanFeng,MuDanandTunYialsoperformedinFujianprovince.”[6] Firstdecline:1936–1945[edit] AfterthePacificWarbrokeout,theJapanesegovernmentchangedthepreviouspolicyandimplementedaKōminkapolicythatencouragedJapanisation.Duringthisperiod,theJapanesegovernmentprohibitedthepublicperformanceofTaiwaneseopera.EventhoughmanytroupesweredisbandedandTaiwaneseoperawitnesseditsfirstdecline,localpeoplestilltriedtoperformTaiwaneseoperasinsecrecy.Taiwaneseopera,alsoknownaswangguodiao(亡國調;literally,"musicfromadyingnation")providedanoutletforTaiwanesepeopletosearchfortheiridentifyandfightforthe"in-betweenness"ofculturalinfluencesofTaiwan,JapanandChina.[7] Somedissidentslikethe"RuiguangTheaterTroupefromRuifanginnorthernTaipeiPrefecturepremiereditsown"newdrama"."(LeeDaw-Ming,158)JapanisationforbadetraditionalTaiwaneseopera,thistroupewouldsimplyperform"newdrama"whichwasamodernvariationofTaiwaneseopera,withmoderncostumes.The"NewDramamovement"feverfinallysubsidedin1940."(Lee-Daw-Ming,158)[8] Goldenperiod:1945–1962[edit] AfterTaiwanwashandedtotheRepublicofChina,Taiwaneseoperawasrevivedandmorethanonehundredtroupeswereformedwithinayear.In1949,therewereoverfivehundredregisteredtroupes.[9]Taiwaneseoperasenteredintoitsgoldenage.Duringthistime,ChenCheng-san(陳澄三)founded“KungLeShe”(拱樂社)troupeandbecamethefirstpersontousewrittenscriptsforperformance.HecommissionedChenShou-jingtowritescriptsof"BrokenDreamsoftheRedChamber"(紅樓殘夢).[10] Evenduringitsgoldenperiod,Taiwaneseoperacontinuedtofacechallengesandadapttothechangesinpoliticalandculturalenvironment.Theriseofthenewbroadcastingmediasincludingradio,filmandtelevisionshow,theinfluenceandpopularityofwesternpopsongsandmoviesdrewthegeneralpublic’sattentionandpresentedseriouscompetition.Duringthemartiallawfrom1949to1987,theKMTgovernmentrevivedtheMandarinPromotionCouncilanddiscouragedor,insomecases,forbadetheuseofHokkienandotherdialects.ThisandtheshiftofpoliticalenvironmentprovidedlittlesupportfortheTaiwanese-languagebasedartform.Theindoorperformancesdecreasedandoperatroupesexperimentedperformingonradio,filmandtelevisionandlargeoutdoorsettings. Transformation[edit] Startingin1954,Taiwaneseoperasperformedonradios.In1955,ChenCheng-sanfilmedthefirstwhiteandblackmovieofTaiwaneseOpera“XuePin-GuiandWangBao-chuan”(薛平貴與王寶釧)andthepremierwasahugesuccess.[11]In1962,TaiwanTelevisionwasestablishedandstartedbroadcastingTaiwaneseoperas.In1982,ChineseTelevisionSystem(CTS)TaiwaneseOperaTroupeperformedinMandarin(insteadofHokkien).TelevisedoperasaresimilartosoapoperasandgreatlyincreasedthepopularityofTaiwaneseoperas.However,certaintraditionalelementsarelostbecausetelevisionshowsfeaturelesssingingandbodymovements.[12] Intheearly1980sTaiwaneseoperawasbroughttothetelevisionaudience,withIûⁿLē-hoaasitspopularface.[13]Theartisticelementsremainedlargelytraditional,however.Taiwaneseopera,likeotherformsofChineseoperaandtheatrearoundtheworld,oftentraditionallyusescross-dressedperformers(反串;fǎnchùan;hóan-chhòan),specificallywomenportrayingmen'srolesinthecaseofTaiwaneseopera. Modernandexperimentalformsshowsomepropensityforsyncretism.Westerninstrumentssuchasthesaxophoneandguitarhavebeenusedinsomeperformances.LooseWesternadaptationshaveincludedNikolaiGogol'sTheGovernmentInspector.PerhapsduetotheinfluenceoftheTaiwaneselocalisationmovement,storiessetinTaiwan,aswellasaboriginalcharactersandstories,havebeendevelopedinrecentyears.TaiwaneseformsoftheHakkatea-pickingoperashowsomeinfluence.Fansoftheoperaattributeitscontinuingrelevancetoawillingnessofperformerstoadapttomoderntimesintermsofstyleandartisticdiversity. Seconddecline[edit] MingHwaYuanArtsandCultureGroup Taiwaneseopera'ssuccessinmovieandtelevisionindustryironicallybecomesoneofcausethateventuallyleadstothedeclineofindoorstagedperformances.ChenShen-Fu,ageneralproduceroftheMingHwaYuanArtsandCultureGroup,said:"Althoughweknoweverythingtheydoisforsurvival,thatisnotright.Theyaredoingsomethingthatwillkillthelifeoftheopera."[14]Otherfactorsincludepoliticalpolicyandsocialstructurechangesandwesterninfluences.Tsaisummarisedtheperiodofdecline: Themainsocialchangesweretheriseofmanyformsofentertainmentinthe1960sandthetransformationofsocietyfromagriculturaltoindustrialandcommercialinthe1970s.GovernmentpoliciesthatweredetrimentaltoTaiwaneseoperawere1)thepromotionofonlynationaltheatre–PekingOpera,2)standardisationofplays,and3)Limitationsonreligiousperformancesandontheuseofdialects.[15] Future[edit] TaiwaneseoperaisconsideredastheembodimentofTaiwanesehistoryandtraditionandthepoliticalidentitycrisisofTaiwanshapeditsdevelopment.[16]Taiwaneseopera'shistoryreflectsthegrowthandchangesinTaiwansocietystartingfromtheearlierimmigrationinfluences,oppressionundertheKōminkamovement,tolittlestatesupportduringthemartiallaweraandthetransformationsofmodernmedias.Taiwaneseoperastrugglestoremainitsvitality. TherefinedoperasinmodernconcerthallsestablishanewdirectionofTaiwaneseoperadevelopment.OneofthenotabletroupesisMingHwaYuanArtsandCultureGroup(MHY): In1983,MHYwasthefirstamongotherfolktheatrestoappearonthestageofanationaltheatre,SunYat-senMemorialHall.Amoretellingexampleisin1989whenMHYgotpermissiontoperformintheZhihangairforcebase.Inthepast,onlyBeijingoperahadbeenconsideredproperenoughtotourmilitarybases.Threeyearslater,MHYtouredmilitaryschools.Theaudience'sresponsewasfarmoreenthusiasticthanitwasforBeijingopera.[17] Thistransformationalsoreflectsontheoperastorylines.Thetraditionalplotsarehistoricalandheroicevents,legendsandmyths.Taiwaneseoperasgraduallyaddedmoreromanticelements.Theintensedramaandthelove-haterelationshipsarethefocusesofthetelevisedoperas.LegendoftheWhiteSnakeisatypicalstorythatcombinesthemyth,religion,andromance. Performanceelements[edit] OriginallytherearethreerolesinTaiwaneseopera,Sheng,Dan,andChou.Later,asTaiwaneseoperabegantoincorporatemorestylesfromothermajoroperas,itgraduallyexpandedtoincludeeightmajorcharacters. Maleleads[edit] Sheng(生).Thesecharactersaregentleandbrave. laosheng(老生) xiaosheng(小生) fusheng(副生):Supportingactor fansheng(反生) wusheng(武生):martialartist Laoshengisanoldermalelead.Oldshengshaveachasteanddecentdisposition.Youngmalecharactersareknownasxiaosheng. Femaleleads[edit] InTaiwaneseoperatherearefoursubtypesinDan(旦)roles. Laodan(老旦):elderfemalesupportingcharacter kudan(苦旦):sorrowfulfemalecharacter wudan(武旦):femalewarrior huadan(花旦):cuteorfunnyorapersonalservant Laodanisadignifiedolderroleandsheisastraightarrow.Alsosherevealssentimentoftheaffectiontothechildrensoshetakessideswithherchildren. siaochou Jester[edit] Chou(丑):malejester Costume[edit] ThecostumeofSheng ThecostumeofDan ThecostumeofChou Stagepropertiesandfigures[edit] Stagepropertiesandfiguresareapartofdancing.Taiwaneseoperaarenotgraphic.SometimesachairinTaiwaneseoperastandsforafenceorabridge.Raisingredflagsstandsforfire,raisingblueflagsstandsforwater,andraisingblackflagsstandsforwind.[18] Therearemanytypesoffigures: EntrancesandExits PullingaMountain WalkingaCircle TheKneelingWalk Small,QuickSteps SweepingHair TheBatJump TheVertiginesGesture TheWaterSleeves Voices[edit] ThemostimportantinTaiwaneseoperaisthemusicforvoices. Instruments[edit] TheuseofawiderangeoftraditionalmusicalinstrumentsinTaiwaneseopera. Kezaixian Daguangxian Suona Jinghu Performancetypes[edit] Three-roletea-pickingopera[edit] Thethree-roleoperaisknownasthestoryoftea-farmerZhangSanlangperformedbyoneclownandtwofemalerolesandtheplotandthesingingarefixed.Thethree-roletea-pickingoperaissimpleanddoesnothaveofficialstage.Thestageisbuiltbeforetheperformance. Seealso[edit] CultureofTaiwan NationalCenterforTraditionalArts References[edit] ^Wang,Ying-fen(2002)."MusicandChineseSociety:ContemporaryTaiwan".InProvine,RobertC;Tokumaru,Yosihiko;Witzleben,J.Lawrence(eds.).TheGarlandEncyclopediaofWorldMusic,Vol.7.NewYork:Garland.p. 436.ISBN 9780824060411. ^Chang,Huei-YuanBelinda(1997)."ATheatreofTaiwaneseness:Politics,Ideologies,andGezaixi".TDR.41(2):111–129.doi:10.2307/1146628.JSTOR 1146628. ^Note:sourceofthewesterntermsAmoy([e˨˩mui˧˥])andQuemoy([kim˧˧mui˧˥]). ^TaiwaneseOperaWebDex ^Tsai,Tsung-Te(1992).TaiwaneseOpera:aTheatreBetweenStabilityandChange(M.A.).pp. 26–27.OCLC 27721363. ^Lin,Ho-yi(2000).TaiwaneseOpera(1st ed.).Taipei:Gov'tInformationOffice.p. 10.ISBN 9789570261202. ^Hsieh,Hsiao-Mei(Fall2010)."MusicfromaDyingNation:TaiwaneseOperainChinaandTaiwanduringWorldWarII".AsianTheatreJournal.27(2):269–285.JSTOR 25782120. ^LeeDaw-Ming,HistoricalDictionaryofTaiwanCinema ^Tsai1992,p. 35 ^Lin2000,p. 12 ^Lin2000,p. 12 ^Lin2000,p. 15 ^YanqiuChen,Yingzhihong :PrimaDonnaofTaiwaneseopera.(Taipei:XhiShi,2005),10.ISBN 9789576153419 ^Tsai1992,p. 41 ^Tsai1992,p. 42 ^Chang1997,pp. 111–129 ^Chang1997,p. 125 ^明華園官方網站www.twopera.com Externallinks[edit] TaiwanBriefintroductiontoTaiwan(inEnglish) TaiwaneseOperaWebDexBriefintroductiontoTaiwaneseOpera,photogallery,onlinemusic,etal.(inEnglish) TaiwaneseOperaIntroduction,photogallery,onlinemusic,forum,andmoreresources.(inMandarin) DoumadiaoDocumentaryspeakingaboutthetransmissionofTaiwaneseopera. 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