00 000 000 禁戲政令下兩岸京劇的敘事策略 前言 - --
一 禁戲政令下台灣京劇的敘事策略 0-000 0-0 --
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二 禁戲政令下大陸京劇的敘事策略及其影響 22 0 22-11-
( 一 ) 污辱勞動人民 牽涉的著名例子 三岔口 23 ( 二 ) 階級歧視 影響的著名例子 鎖麟囊 24 23 0 00 24 00 00 - -12-
( 三 ) 舞台形象淨化 對表演藝術和劇場規律的影響 -0-13-
25 ( 四 ) 禁止迷信 的影響 25 00 - -14-
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禁戲政令下兩岸京劇的敘事策略 0 關鍵字 : 京劇禁戲改戲匪戲當代京劇禁演 -23-
WANG An-chi The Prohibited Drama in China classical drama reflects the monitoring of art from politics. It shows the fearfulness of the in about the power of drama. The issue is not only about politics but also the China classical drama itself. When the plays which so as to makes a living is prohibited, how the actors/actresses deal with the situation? How the actions of modifying the drama to adapt to the prohibition effect the theater standard and even the drama culture? How the audience treats those revised editions, and what kind of the message revealed from their attitude? These questions are involved with the politics, the society, the customs, the drama-modifying, the theater rule, and are closely linked with the taste of Chinese classical drama. In this article, I try to solve the above questions. The time scope is the present age (from 1949 to now), the discussion is mainly focused on Peking Opera, and the region covers Taiwan and Mainland China. Keywords: Peiking Opera Prohibited Drama Communist Drama Drama-modifying Contemporary Peiking Opera -24-
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