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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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The objective of the present study is to investigate through what process Tan Xin Pei (譚鑫培) has learned to form his own fashion and what implications it might have. At the same time, this study is also aimed at highlighting his position as an actor in Chinese drama by examining the significance of his artistic achievements in Beijing opera.
Tan Xin Pei invested his passion for the art of Beijing opera to deal with his difficult environments and shortcomings, studying constantly the essence of senior actors’ plays, transforming them into his own style, that is Tan fashion (譚派), and obtaining ultimately the status of grand master who has pioneered a new way by acting an old man in the plays of Beijing opera. He learned a lot from excellent performances of the senior actors in Beijing opera, particularly those of heroine Qing Yi (靑衣) and character actor Hua Lian (花臉), imitating their tone and technique of the beat to deeply reveal the inner feelings of the characters in the plays, and succeeded finally in dignifying the soft, fresh, mild, elegant grace of his own Tan fashion. Moreover, he added martial art to the category of an old man role, extending by thus its scope widely. In addition, he reorganized past performances to create a vivid new character in the drama. Thanks to these artistic accomplishments, he became eventually a representative grand master as the actor playing an old man role in Beijing opera. Therefore, in the field of Beijing Opera has been called as the King of the opera.
Tan Xin Pei invested his passion for the art of Beijing opera to deal with his difficult environments and shortcomings, studying constantly the essence of senior actors’ plays, transforming them into his own style, that is Tan fashion (譚派), and obtaining ultimately the status of grand master who has pioneered a new way by acting an old man in the plays of Beijing opera. He learned a lot from excellent performances of the senior actors in Beijing opera, particularly those of heroine Qing Yi (靑衣) and character actor Hua Lian (花臉), imitating their tone and technique of the beat to deeply reveal the inner feelings of the characters in the plays, and succeeded finally in dignifying the soft, fresh, mild, elegant grace of his own Tan fashion. Moreover, he added martial art to the category of an old man role, extending by thus its scope widely. In addition, he reorganized past performances to create a vivid new character in the drama. Thanks to these artistic accomplishments, he became eventually a representative grand master as the actor playing an old man role in Beijing opera. Therefore, in the field of Beijing Opera has been called as the King of the opera.
목차
1. 들어가면서
2. 연기활동과 당시의 극계
3. 예술적 성취
4. 나오면서
〈參考文獻〉
〈Abstract〉
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UCI(KEPA) : I410-ECN-0101-2018-910-001776412