Reception and Transformation of Nanguan for the Story of Xixiang

• Main Authors: Ｗan-LingShen, 沈婉玲
• Other Authors: Mei-Hua Gao
• Format: Others
• Language: zh-TW
• Published: 2010
• Online Access: http://ndltd.ncl.edu.tw/handle/07474085734725821711

碩士 === 國立成功大學 === 中國文學系碩博士班 === 98 === Nanguan is regional music of theater originated in Quanzhou, Fujian performed by singing without acting and playing instruments. Its musical content and circumstance is followed Daqu in the Tang and Song Dynasty and related by Nanxi to become living subject to be researched. The musical compositions preserve much Nanguan lyrics are three forms of Zhi, Santao and Qu. And their contents are mainly stories of theaters after the Song and Yuan Dynasty. The intension of Nanguan literature such as Quanzhou language, rhetoric, developments of stories and images of characters are needed to be discussed deeply. The story of Xixiang is originated from Chuanqi named Yingying’s Biography in the Tang Dynasty. It has become a classical example in the Chinese theater history developed by Guzici, Zhugongdiao, Bei-Zaju, Nan-Chuanqi and many literary forms. Today scripts of the story of Xixiang in Nanxi and Liyuanxi are not preserved. However, there are more than fifty songs of the story of Xixiang in Nanguan and exist in three forms of Zhi, Santao and Qu can be compared with Zhugongdiao, Bei-Zaju and Nan-Chuanqi. In music, most songs of Nanguan are created from theaters and their forms are close to Nanxi more, Nanguang is classified by melody called Gunmen but Qupai though. In literature, developments of the story and psychological activities of characters and rhetoric of lyrics are followed and transformed from the theaters of Xixiang. In philosophy, the story of Xixiang affects the story of Lijing which is originated in Quanzhou and the phenomenon means emotion is the main characteristic of Nanguan literature in the Ming-Qing period. The thesis refers to the circumstance and teaching of Tainan-Nan-Sheng-She, the traditional Nanguan organization in Taiwan and published Nanguan scores. It analyzes by five chapters. The first chapter is introduction. The second chapter is the form and teaching of Nanguan. The third chapter is the list, forms and content of the story of Xixiang in Nanguan. The fourth chapter is plots and the lyric characteristic of the story of Xixiang in Nanguan. The fifth chapter discusses the philosophy of emotion in Nanguan.