A Study on Kuqku Opera''s Stage Art of "The Peony Pavilion(MuDan Ting)" after 1980 A.D.

• Main Authors: Yi-Ju Chen, 陳怡如
• Other Authors: 洪惟助
• Format: Others
• Language: zh-TW
• Published: 2007
• Online Access: http://ndltd.ncl.edu.tw/handle/11217866827776353314

碩士 === 國立中央大學 === 中國文學研究所 === 95 === “The Peony Pavilion (MuDan Ting)”, is a Script that was written by Tang XianZu in the Ming dynasty. Thespectacular story, beautiful rhetoric, the skills of singing and the aesthetic figure required for the performance All contributed to its standing as one of the major representative works of the Kunqu Opera .It still remains a well-liked, popular play to this very day. The progress of theatrical concepts combined with the advancements in techniques utilized for theatrical presentation, has dramatically influrnced the developement of Kunqu Opera . Although the developmental progress of Kunqu Opera varies across the strait,Both selected the method of “utilizing plural creationism” to assist the modernization of Kunqu Opera after the 80s, thus created more different looks for the performances of Kunqu Operas, An intrinsic part is the visualization of the stage art during a performance. ”The Peony Pavilion” has an impressive number of performance after the 80s, aside from various adaptations of the original script and differing performance style, it also sees a diversified accomplishments in the designs of stage art. through the study of the performances of “The Peony Pavilion”, not only can we appreciate its incrdedible accomplishments for the last 20 years, we can also infer what principles and unique elements of presentation that must be grasped in the stage art design..We hope the study will yield meaningful contributions on the subject of “The Peony Pavilion” and the stage art of Kunqu Opera. After careful examination of visual documentation, interviews of relevant personnel, related photo documents, reviews and literatures, 10 differing versions of “The Peony Pavilion” created after the 80s were selected for introduction, discussion, and a comparative analysis. The study approach the subject from three angles—stage structure, lighting design, and the character styling. A conclusion could be drawn from the results of this study that under the influences of varying factors, each version of “The Peony Pavilion” created after the 80s has its distinct philosophy and concept. So the presentation of stage art has diversified as a result. There are three distinct features regarding the trends of “The Peony Pavilion” stage art from 1980,to present day: 1. The utilization of lighting techniques to reinforce the dramatic atmosphere on the stage. 2. The looseing of rigid stipulation for traditional clothing has brought new possibilities for character styling. 3. The increase of cases where the design of specialized stage art equipments are required. 　Additionally, the experiences of “The Peony Pavilion” reflected that even with a long and distinguished performance history coupled with the burden of maintaining a tradition, Kunqu opera scripts still have the potential to provide a very different experience. However, even in the face of a radically altered philosophy regarding stage art, the essence of Kunqu Opera still lies with the performers’ active presentation,the designs of stage art should always conform to the performances, rather than concentrating on presenting the ingenuity of the craft.Aside from creative innovations, the interpretation of classical plays should still concentrate on appreciating the unique qualities of Kunqu Opera, and should endeaver to reach the goal of popularizing this elegant performing art without losing its fine spirit.