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河炅心(Ha, Kyung-sim) 중국어문학연구회 2017 중국어문학논집 Vol.0 No.106
This thesis shows the recent trends in the Chinese theatre and changes in the performing environment of big cities in China such as Beijing. This includes both Chinese modern drama and traditional drama. The number of theaters and performances has been increasing remarkably for the last ten years and the performing environment has been improved a lot. The corporative and private investment in performing art also has been increased. In addition, due to the increase in international exchange of the theatre, many foreign theater troupes have participated in international theater festivals such as Beijing Comedy Festival, Wuzhen Theatre Festival etc. And Chinese dramas also went abroad and were performed in many foreign countries. These changes are apparently due to recent economic growth in China. The year 2016 marked the 400th anniversary of the death of Shakespeare and Tangxianzu who was an excellent playwright in Ming dynasty. And it also marked the 50th anniversary of the death of Laoshe who was one of the most beloved playwright by Chinese people, especially by Beijing citizen. To honor these great writers, their masterpieces such as Hamlet, Macbeth, King Lear, Mudanting, Handanji, Chaguan were performed several times in various forms. Among them, there were new interpretations and recreations of works such as Pop Peking Opera Lady Macbeth, modern drama Handanji. There are new attempts to reform Chinese traditional dramas in order to attract young audience. Among those efforts, "2016 Xiqu Opera Black Box Festival" in Beijing is particularly worthy of note. It was held in Star Theater which consists of 5 small theaters and cafe in Beijing, claiming to support ‘New attempts’ and ‘Young actors and audiences’. Chinese traditional drama troupes from all over the country performed 20 famous works in this festival. Most of them were more or less recreated to attract large audiences. Small theater is a perfect place to get close to audiences and impress them. It made a special experience for the audience. It is very hard to say that these theatrical attempts and efforts for surviving are all successful. Still, there is concern for censorship and control, nationalism and orientalism. And there is worry about excessive commercialization of theater, too. However continual endeavors and novel ideas for reaching a wider audience will make gradual and positive changes in the future, although there are trials and errors.
河炅心(Ha, Kyung-sim) 중국어문학연구회 2020 중국어문학논집 Vol.0 No.121
This paper is an analysis of Yuan Zaju(雜劇) 〈The Ghost of the Pot(盆兒鬼)〉 from various spectra and perspectives. In the Yuan Dynasty, stories inspired by ghosts, crime, and trials were considered popular forms of Chinese literature often read and performed on stage. At first, 〈The Ghost of the Pot〉 is a play defined by trials, in which a murder unfairly takes the life of a victim. The play can also be described as a Judge Bao Play, where a legendary judge Baozheng(包拯) appears as the main character who clearly solves a case. At the same time, ghosts play a significant role within this drama. In 〈The Ghost of the Pot〉, while the character Bao’s role is relatively smaller than 〈Hudiemeng(蝴蝶夢)〉 〈Huilanji(灰闌記)〉 〈Chenzhoutiaomi(陳州糶米)〉, the drama highlights his ability to subdue ghosts and quell their animosity. As a play concerning ghosts, the ghost character left in the bowl after experiencing death in this drama is a unique character and his role becomes more prominent than in other ghost plays. On the other hand, 〈The Ghost of the Pot〉 can be viewed as a play featuring various types of merchants like Zhao who makes a living as a ceramicist, or Yang who focuses on profit gains by selling goods all over the country. Although the story itself is rooted in fiction, the dramatic narrative is a realized reflection of social conflict, religion, and traditional customs of the Yuan dynasty. Like the plays about trials, the central theme is the realization of social justice, and above all, the connection between the afterlife and living is perhaps the most interesting and important factor.
무대 위의 巾幗영웅 ― 중국 전통극중 여성영웅형상의 탄생과 변용
河炅心(Ha, Kyung-sim) 중국어문학연구회 2019 중국어문학논집 Vol.0 No.116
It is not difficult to find superheroines among the characters of Chinese classical drama. They have fought for their country and have kept their families safe from national crises caused by invasions of foreign countries and domestic revolts. Jinguo heroines (heroines who wear headscarves and fight for their country), such as Hua Mulan, Mu Guiying, She Taijun, Fan Lihua, and Bao Sanniang, are characterized as individuals who are wiser, more active, courageous, and powerful than male characters and most of them are masters of martial arts and war tactics. Moreover, they would compete with men and willfully choose their own spouses and they volunteered to sacrifice their lives in the battlefield as a General or a Warrior for their families and national pride. Jinguo heroines have also fought against traitors and they sometimes criticized the incompetent government. They have been a symbol of loyalty and fidelity on the stage and welcomed by the audience for a long time. These characters are inspired by historical figures or heroines of literary works. They have been described as ‘Qinu’(奇女- outstanding, unusual woman) and ‘Lienu’(烈女- a strong-willed woman of Confucian ideals) at the same time. This paper examines the birth, transformation, and significance of celebrated female characters in Chinese classical drama. Through research, we learn about how these heroines were created, what makes them similar yet distinct from one another, and how they continue to prove their lasting impact as figurative, historical role models in China.