Analysis of the Evolution of the Different Horsewhip Postures on Stage of the Chinese Opera “Zhaojun Leaves the Country” ---Based on the Versions Performed by Peking Opera Stars Xiao-Yun Shang, Zheng-Qiu Gu, Hai-Ming Wei, Rui-Lan Tang

• Main Authors: WANG, HUI-LIN, 王慧琳
• Other Authors: WANG, KUANG-SHENG
• Format: Others
• Language: zh-TW
• Published: 2015
• Online Access: http://ndltd.ncl.edu.tw/handle/3u76mf

碩士 === 國立臺灣藝術大學 === 舞蹈學系 === 103 === Opera is a treasure of Chinese culture. The performance of the Chinese Opera is presented primarily through singing and dance movements. This research was designed to investigate the importance of the role dance movement plays in Chinese Opera, and analyze the evolution of the different horseship postures on stage of Kun Opera and Beijing Opera versions “Zhaojun Leaves the Country.” The evolution of the different horsewhip postures on the stage, and the impact on the interpretation of the role of dance drama were expected to provide a reference of creation for opera and dance performers. The four opera performers analyzed for this study were Xiao-Yun Shang, Zheng-Qiu Gu, Hai-Ming Wei, and Rui-Lan Tang. Qualitative documents and observations were collected for analysis. Based on the image capturing data, drawings of dance tracks and text commentary were created to explain each horsewhip figure movement. The conclusions drawn from the analysis of this data are summarized as follows: 1) Through the interpretation of the four famous performers’ use of horsewhip postures on stage “Zhaojun Leaves the Country,” it highlights the importance of the dance movements in Chinese Opera. 2) To sum up, the developments and changes of the different horsewhip postures of the four famous performers have been evolved and refined from “Civil Opera with Military Style” to “Civil Opera with dancing and singing.” 3) By innovating and re-arranging the movements of opera dance, the performers shape the roles and create their own personal styles. 4) The provided research results analyzing the evolution of the horseship postures of the four performers using “Martial Arts” and “Dancing” styles, can be used as a reference for future creators.