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羚带苗
9 years ago
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1 BIBLID (2001)19:1 pp * 329

2 Prof. Kristofer Schipper Jo Humphrey

5 A. A. A. A. A b-23a B. I B. I B. I B. B

6 b-6b B. II B. II B. II B. I B. III B. III B. III B. II C. C. C. C. C a-12a D. I D. I D. I D. I D. I b-16a D. II D. II D. II D. II D. II D. I D. I D. I b-18b E. E. E. E. E b-26a

7 335 F. F. F. F. F b G. G. G. G. G b-24b A

9 337

11 339

12 B B IB II B III

13 B B B B B

14 C C

16 D D I D I D II 17b

17 A D II E

18 F

19 G

21 349

24 A Discussion of the Taiwanese Shadow Play Cai Bojie Fong-hsiung Lin Abstract In examining the Taiwanese shadow play Cai Bojie, we can find traces of the Ming dynasty Qingyang opera The Pipa Romance. Moreover, we also find that the practice of performing excerpts from the popular Qing dynasty Kun opera version of The Pipa Romance influenced the division of scenes in the later Chaozhou shadow play version of Cai Bojie. The great creativity of Chaozhou shadow play artists can be seen in such scenes as Zhao shi le lu, where in a long self-guestioning soliloquy, Zhao Wuniang expresses her deep inner dissatisfaction with Cai Bojie, creating a sense of tension and confrontation that pushes the play towards its climax. No later than the era of the Dongshan Clan Manuscript, the Chaozhou shadow play artists began placing the Zhang gong sao mu scene before the Bojie ren xiang scene in their performances. The behavior of Li Wang, and his dialogue with Zhang Guangcai, assuages the audience s dissatisfaction with Cai Bojie. This marks the shift from confrontation to reconciliation in the story, and better prepares the audience for the tragic reunion between Cai Bojie and Zhao Wuniang that follows. The author therefore finds the Taiwanese shadow play version of Cai Bojie to be quite praiseworthy in terms of structure and plot development. Starting with the Huang men shang zou scene, the Taiwanese shadow play Cai Bojie gives full expression to the despair felt by Cai Bojie due to the * Fong-hsiung Lin is an associate professor in the Graduate Institute of Art Studies at the Chinese Culture University.

25 353 conflict between his official duties and marriage. Moreover, the play is successful, within a limited plot structure, in richly portraying the characters of the loyal Cai Bojie, the faithful Zhao Wuniang and the upright Zhang Guangcai. This dramatic expression seems to bring us closer to the true message of the Pipa Romance. Keywords: Taiwanese Shadow Theater, Cai Bojie, Chaozhou Shadow Theater, Qingyang Opera

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