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• Main Authors: Tzu-lin Tseng, 曾子玲
• Other Authors: Wei-chu Hung
• Format: Others
• Language: zh-TW
• Published: 2014
• Online Access: http://ndltd.ncl.edu.tw/handle/659gmm

博士 === 國立中央大學 === 中國文學系 === 102 === The Research of Peking Opera in Tainan Abstract Peking Opera has generally been viewed as an outcomer in Taiwan. However, it was one of the common leisure activities among the locals in Tainan as early as in theJapanese Occupation era. One of the distinctive traits is that Mandarin Chinese was employed in the performance in a lot of Peking Opera clubs of the local temples. Like Beiguan-style Taiwanese opera, Nanguan-style Taiwanese opera and Taiwanese opera, Peking Opera sung in Mandarin Chinese was also invited in the parade in lots of temple festivalsas well as to perform formally on the open air stages. Peking Opera became popular in Taiwan when several Peking Opera troupes from China came to perform during the Japanese Occupation era. While it has been considered as the favored activities among the intellectuals and elites, the establishment of the Peking Opera clubs in a lot of temples indicated that it was also popular among the commoners in the early Japanese Occupation era in Tainan. Moreover, like Taipei, Tainan also had lots of theaters performing Peking Opera some of which contracted long-term Peking Opera troupes. These professionals attracted audience to the theaters with the exciting martial art drama and fascinating plots in series during the Japanese Occupational Era and the decades after the War. For example, Yi-Ren Peking Opera Troupes attracted the audience with Taiwanese lyrics while Chang’s Tong-ling Opera Troupes from Shanghai caused a great sensation throughout Taiwan when performing the martial art drama with real weapons. Chang’s Tong-ling Opera Troupes was more than an opera club of the temple, but it cooperated with the military and the local opera companies for more performances which made a hit in the theaters at that time. The lively and animated way of Chang’s martial art drama fromthe southern China and traditional Peking singing styles from the northern China brought a different sensation of performing art for the locals to appreciate. Besides the performance of the professional Peking Opera troupes from China and the local opera patrons, there were performances in cappella singing in a lot of temple festivals and in the performers’ duets in the teahouses and restaurants. Language did not seem to be barriers when the locals of Tainan enjoyed or performed Peking Opera. How did Peking Opera break the language barrier and become part of the local people’s daily life? The study explores this question from the background of Peking Opera before being introduced to Taiwan and the unique performing situation in Tainan. The study also analyzes the type of plots attracting the audience from the repertoires of different professional and amateur opera troupes, opera clubs of the temples and opera clubs in the military. It is interesting to investigate whether these popular repertoires which required genuine skills could also attract the modern audience. It is concluded that the sensational performance and skilled actors are important factors to attract the audience to the theaters of Peking Opera, which is also one of the reasons for Peking Opera to be ahead of the various Chinese operas.