지원사업
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.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 중국어문학연구회 중국어문학논집 中國語文學論集 第127號
- 발행연도
- 2021.4
- 수록면
- 327 - 348 (22page)
- DOI
- 10.25021/JCLL.2021.4.127.327
이용수
초록· 키워드
오류제보하기
Transformation of the same narrative in china literature is very common. this phenomenon is also a very general one in chinese opera. In other words, different chinese opera style has transformed into another form of the same story and the form of performances. this paper studied focus on narrative transformation and characteristics of the performance of "Dou’ E Yuan(竇娥寃)".
As a result, the following conclusions were reached.
First, in terms of their narrative structure, Zaju (雜劇) "Dou’ E Yuan(竇娥寃)"has changed the structure of the narrative as Chuan Qi(傳奇) Jin Suo Ji(金鎖記)" and Zhe Zi Play (折子戱). in other words this reform turned the shape of intensive narrative into a complex form, turned the selected pieces. in addition, in the case of reform Chuan Qi(傳奇) Jin Suo Ji(金鎖記)" its was newly added to the narrative and subdivision of narrative structure of Zaju (雜劇). in other words Zaju (雜劇) "Dou" E Yuan(竇娥寃)" tried to look at the corrupt phenomenon that was prevalent in society at that time with a sharp vision. Chuan Qi(傳奇) Jin Suo Ji(金鎖記)" maintains the narrative of the original work. but adds a narrative that gives "Dou’ E" the image of a filial woman and a woman of incision. Zhe Zi Play (折子戱) was composed of independent stories.
Secondly, in terms of their performances, different chinese opera style was characterized by an actor"s performance, opera props, and sound stage. Different chinese opera style works had various sets of performance devices. in particular, Zaju (雜劇) would have been required many acting skill in order to highlight the centralized narrative, the devices for emotional expression and concrete motion expression were concentrated at the moment when the core of the narrative should be more prominent in the intensive narrative structure. Chuan Qi(傳奇) would have been setting the stage action. because of the relatively loose narrative structure, detailed movements and movements tended to be deployed mainly in areas where key contents were developed to enhance understanding of the incident while focusing on the core of the story. Zhe Zi Play (折子戱) would have been required many acting skill in order to deeply touched by the short story.
To sum up, This study confirmed that this phenomenon may have been because of the unique nature of different chinese opera style. Above all, however, even if the styles are different, it can be confirmed that more detailed performance devices are set up at the moment of each form"s core event.
As a result, the following conclusions were reached.
First, in terms of their narrative structure, Zaju (雜劇) "Dou’ E Yuan(竇娥寃)"has changed the structure of the narrative as Chuan Qi(傳奇) Jin Suo Ji(金鎖記)" and Zhe Zi Play (折子戱). in other words this reform turned the shape of intensive narrative into a complex form, turned the selected pieces. in addition, in the case of reform Chuan Qi(傳奇) Jin Suo Ji(金鎖記)" its was newly added to the narrative and subdivision of narrative structure of Zaju (雜劇). in other words Zaju (雜劇) "Dou" E Yuan(竇娥寃)" tried to look at the corrupt phenomenon that was prevalent in society at that time with a sharp vision. Chuan Qi(傳奇) Jin Suo Ji(金鎖記)" maintains the narrative of the original work. but adds a narrative that gives "Dou’ E" the image of a filial woman and a woman of incision. Zhe Zi Play (折子戱) was composed of independent stories.
Secondly, in terms of their performances, different chinese opera style was characterized by an actor"s performance, opera props, and sound stage. Different chinese opera style works had various sets of performance devices. in particular, Zaju (雜劇) would have been required many acting skill in order to highlight the centralized narrative, the devices for emotional expression and concrete motion expression were concentrated at the moment when the core of the narrative should be more prominent in the intensive narrative structure. Chuan Qi(傳奇) would have been setting the stage action. because of the relatively loose narrative structure, detailed movements and movements tended to be deployed mainly in areas where key contents were developed to enhance understanding of the incident while focusing on the core of the story. Zhe Zi Play (折子戱) would have been required many acting skill in order to deeply touched by the short story.
To sum up, This study confirmed that this phenomenon may have been because of the unique nature of different chinese opera style. Above all, however, even if the styles are different, it can be confirmed that more detailed performance devices are set up at the moment of each form"s core event.
목차
1. 서론
2. 원형 서사와 공연성: 雜劇 『竇娥寃』
3. 변용 서사와 공연성(1): 傳奇 『金鎖記』
4. 변용 서사와 공연성(2): 『綴白裘』本 절자희
5. 결론
參考文獻
ABSTRACT
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