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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2003.3
- 수록면
- 51 - 79 (29page)
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The major features of the English Elizabethan stage and those of the Chinese stage for Peking Opera are so similar that they attracted many scholars who have attempted some comparative studies. Since many elements including playwrighting are related to the architectural features of the playhouse, the fact that such independently developed two art forms as Elizabethan dramatic art and Chinese Peking opera produced on the similar stages are encouraging to analyse their origins and developments.
Hsu argued that the Chinese theatre have derived from tea-house as the English public theatre from inn-yard, and they are alike in terms of the thrust stage, the use of the back space of facade, and the arrangement of the auditorium. Their style of the productions, however, are quiet different from each other. According to the Chinese theatre history, the stage was used for performances as early as Tang Dynasty of 7th century, during which the great progress was made toward a distinctive theatrical form incorporating music, dance, dialogue, and acrobatics. Emperor Hsuan Tsung established The Pear Garden, a school to train singers, dancers, and other court entertainers, which would be the Chinese counterpart to 'Thespian'. But the stages for the performances was just temporary ones named as gadai (a platform for singing) or mudai (a platform for dancing). During the Sung Dynasty, as the best performers were recruited for the court, the more elaborated stage and celebrations were given on some special occasions. In the cities, permanent playhouses were suited in special areas called 'tile districts', and there were fifty or more theatres in Kaifeng, the northern Sung capital. Those theatres were fenced enclosures, above which flags and banners flew, and the stage was roofed platform open on three sides, and at the ground level there was a large area where people might stand, and around this there might be raised stands or balconies.
Peking opera, the dominant theatrical form in China after the mid-nineteenth century, is characterized by conventions inherited from earlier periods and developed into strict system. The stage of the traditional Chinese theatre was an open platform, covered by a roof supported by lacquered columns, raised 60 to 120 ㎝ above the ground and surrounded by a wooden railing. The stage was equipped only with a carpet, two doors in the real wall for entrance and for exit, between which hung a large embroidered curtain. These architectural features are strikingly similar to English Elizabethan counterparts.
Consequently, this paper makes a comparative study of the architectural features between English Elizabethan stage and Chinese Peking opera. Then, the similarities and differences in terms of the theatrical practices and stage conventions between them are discussed with some examples of scenes from the representative plays.
Hsu argued that the Chinese theatre have derived from tea-house as the English public theatre from inn-yard, and they are alike in terms of the thrust stage, the use of the back space of facade, and the arrangement of the auditorium. Their style of the productions, however, are quiet different from each other. According to the Chinese theatre history, the stage was used for performances as early as Tang Dynasty of 7th century, during which the great progress was made toward a distinctive theatrical form incorporating music, dance, dialogue, and acrobatics. Emperor Hsuan Tsung established The Pear Garden, a school to train singers, dancers, and other court entertainers, which would be the Chinese counterpart to 'Thespian'. But the stages for the performances was just temporary ones named as gadai (a platform for singing) or mudai (a platform for dancing). During the Sung Dynasty, as the best performers were recruited for the court, the more elaborated stage and celebrations were given on some special occasions. In the cities, permanent playhouses were suited in special areas called 'tile districts', and there were fifty or more theatres in Kaifeng, the northern Sung capital. Those theatres were fenced enclosures, above which flags and banners flew, and the stage was roofed platform open on three sides, and at the ground level there was a large area where people might stand, and around this there might be raised stands or balconies.
Peking opera, the dominant theatrical form in China after the mid-nineteenth century, is characterized by conventions inherited from earlier periods and developed into strict system. The stage of the traditional Chinese theatre was an open platform, covered by a roof supported by lacquered columns, raised 60 to 120 ㎝ above the ground and surrounded by a wooden railing. The stage was equipped only with a carpet, two doors in the real wall for entrance and for exit, between which hung a large embroidered curtain. These architectural features are strikingly similar to English Elizabethan counterparts.
Consequently, this paper makes a comparative study of the architectural features between English Elizabethan stage and Chinese Peking opera. Then, the similarities and differences in terms of the theatrical practices and stage conventions between them are discussed with some examples of scenes from the representative plays.
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