The exploration and teaching application of dance movements in Chinese opera

• Main Authors: Shao-en Hsu, 許韶恩
• Other Authors: none
• Format: Others
• Language: zh-TW
• Published: 2010
• Online Access: http://ndltd.ncl.edu.tw/handle/14561079181287820246

碩士 === 國立臺南大學 === 戲劇創作與應用學系碩士班 === 98 === The purpose of this study is to explore the traits and meaning of dance movements in Chinese opera, as well as how to use them in teaching to enhance students’ interests and performances in learning Chinese operas. The study first clarify the relation between Chinese Opera movements and dance movements. It then analyze and document (some) Chinese Opera dance movements, to define the traits of Chinese Opera dancing. Finally, by analyzing the movements in two selected Chinese Opera scenes, it provide relevant materials and ways of using them, and draft a curriculum design for Chinese Opera dance appreciation or experiencing courses, which can be of help to the teaching and popularization of Chinese operas in the future. Research results and Conclusions: (1)In Chinese operas, “singing & dancing” and “drama” are closely related to each other. (2)“Chinese Opera Dancing” means the movements containing both dramatic and dancing elements shown on a Chinese Opera stage. (3)Compared with “non-Chinese Opera dancing”, “Chinese Opera dancing” contains dramatic element and realistic element, and varies in accordance with different character types. (4)Dance movements in Chinese operas are characterized with their “dynamic and static elements”, “power”, and “motion trail”. (5)Innovative Chinese Opera dance movements should be shown by combining the pictures of the movements with the script and libretto. (6)Chinese Opera dance movements can be put under four categories: descriptive movement, ideographic movement, expressive movement, and attitudinal movement. (7)Chinese Opera dance movements express ideas in three ways: routinization, virtualization, and rhythmization. (8)Dance movements in Chinese operas pursue three artistic conceptions, including simulation, beautification, and narration. (9)The teaching of Chinese operas includes three stages: appreciation, experience, and performance. (10)The general education of Chinese operas should focus on stimulating and fostering students’ interests in and attachment to Chinese operas. At last, based on the findings of this study, the researcher give some specific recommendations for future teaching of Chinese Opera Dancing.