공연예술로서의 小百花越劇 개혁양상 고찰

• 발행기관: 중국인문학회
• 저자명: 김형란
• 간행물 정보: 『중국인문과학 』제68집, 287~324쪽, 전체 38쪽
• 주제분류: 인문학 > 문학
• 파일형태: PDF
• 발행일자: 2018.04.30

영문 초록

Both of Xiaobaihua Yueju(小百花 越劇) and Takarazuka in Japan had similar periods of occurrence, the process of performance with a man during the development process, and were established as the only opera for women. In addition, both has many similarities, from starting in the local areas, through developed cities, in which the stage is established, finally to the history of becoming a nation's representative type of opera. As Takarazuka is generated ahead of China's Yueju, both have had a big and small influence each other as stage exchanges. In particular, Takarazuka preceeded with reforms rather than the Xiaobaihua Yueju(小百花 越劇), that is repartory, stage production, actor’s training system, actor’s star system and pandom formation. Yueju may have been influenced by Takarazuka's transcendental and successful experience. This study revealed characteristics and direction of Xiaobaihua(小百花) as a result of review the reform aspects, compared with Takarazuka. First of all, you can see that Xiaobaihua Yueju(小百花 越劇) had developed a “ market ” strategy among Chinese traditional plays. The reformability of the Xiaobaihua(小百花) might be the result of viewing the market as an equal or greater value than art under an environment that is evolving into capital inflow and economic logic. Next, reform of Xiaobaihua Yueju(小百花 越劇) was definitely intended to go the way forward in modernization. It wanted to achieve the original goal of making the play touching with a sense of seeing, listening and feeling as the audience changes. Finally, you can see that it want to go to globalization. It makes it clear that Internationalization is not a Westernization and, unlike Takarazuka, whose identity is suspected, shows only aesthetic consciousness as Chinese play but also internationality with universal artistry. All of these features of Xiaobaihua(小百花) reform are in fact focused on the audiences. Xiaobaihua(小百花) reform has resulted in sensitive responses to the eyes of the audience who face it, and shows his intent to do further. So, the reform of Xiaobaihua(小百花) still is progressive, as it actively take up the stage and show youthful achievements while other tradiational dramas hesitate.

목차

Ⅰ. 들어가며

Ⅱ. 여성극단의 성립과 발전양상

Ⅲ. 무대연출의 개혁

Ⅳ. 스타시스템과 팬덤

Ⅴ. 결론 - 소백화 개혁의 지향

키워드

Yueju XiaobaihuaYueju Takarazuka 越劇 小百花越劇