Opera Quarterly. Spring/Summer2010, Vol. 26 Issue 2/3, p200-219. 20p. 12 Black and White Photographs.
Subjects
OPERA singers, DRAG queens, GESTURE in opera, and ACTING
Abstract
The article discusses the work of Chinese opera performer and female impersonator Mei Lanfang, who has starred in films such as "Dream of the Garden" ("Youyuan jingmeng"), and his use of gestures in films of Kun opera. Of particular note is a gesture made with one's eyes, which was typical of performances of Kun operas. Mei's acting style and his association with screenwriter and choreographer Qi Rushan is discussed, particularly how the two men used acting and gestures to preserve traditional Chinese opera.
Journal of Zhejiang University. Humanities & Social Sciences / Zhejiang Daxue Xuebao; May2012, Vol. 42 Issue 3, p148-157, 10p
Subjects
CHINESE operas and CHOREOGRAPHY
Abstract
Qi Rushan's influence on the development of modern Peking Opera deserves acknowledgement, and the aesthetic essence of Mei Lanfang's art of Peking Opera transformed by Qi deserves more of our in-depth discussion. Although Mei Lanfang' art was sharply and ironically criticized by Lu Xun, it has been widely praised by the Western world, which makes Chinese people too proud to see its essence, and therefore, unable to have an insight into the merits and demerits of Qi Rushan's opera practice. Qi Rushan's opera practice was mainly represented by the design of choreography and costumes for Pihuang Drama. In seeking the rationality of his "dance" practice in opera, Qi Rushan cited a number of literature on dance since Han and Wei Dynasties. But in fact, his inspiration for choreography came mainly from his familiarity with Pihuang Drama. As the opera was mainly made up of stylized dance movements, Mei Lanfang's art became one of those in pursuit of beauty in form, which actually diluted the theme of humanistic concern. [ABSTRACT FROM AUTHOR]
碩士 國立成功大學 中國文學系碩博士班 95 Abstract Qi Rushan（1875-1962） is an important contemporary Peking Operas theoretician and writer. He spared no effort to advocate Peking Operas in his lifetime ,so he is reputed “Chian’s Shakespeare”.He not only focused on Peking Operas,but also kept a watchful eye on collecting Chinese classical fiction.He chosen extracts from his private book collection,and written thirty-three colophons-Xiaoshuo Gouchen. However,his contribution of Fiction Documentation and Bibliography were neglectd because of politics in Zhongguo Tongsu Xiasshuo Shumu that was published in nineteen fifty-seve. So, academic valu and influence of Xiaoshuo Gouchen was underrated. Although researchers respect this fiction book collector and Xiaoshuo Gouchen gradually,their acquaintance of Xiaoshuo Gouchen is sciolistic.Through literature review,we can know that many problems have to resolve. This paper comprises six chapters. The first chapter is a preface that illustrate problematics, research methods and purpose of the present study. The second chapter elucidate Qi Rushan’s life and works of literature,and the compiling process of Xiaoshuo Gouchen,and its .The third chapter induces the stylistic rules of Xiaoshuo Gouchen , it can be grouped into three types-records contents of fiction, certificates versions of fiction,comments concepts and plots of fiction.The fourth chapter rectifies errors in Xiaoshuo Gouchen,and discusses the editions and afloat conditions of the thirty-there fictions in Xiaoshuo Gouchen. The fifth chapter explain the value and imperfections of Xiaoshuo Gouchen. To begin with, this thesis have the positive recognition idea of Qi Rushan’s attitude that he respected popular literature and opened his rare editions to the public. In the second place, this thesis attests Xiaoshuo Gouchen that fill up insufficiency of classical fiction bibliology by contrast with Zhongguo Tongsu Xiasshuo Shumu. In conclusion, this thesis have the positive recognition idea of Xiaoshuo Gouchen’s academic value.At the same time, this thesis points out mistakes and imperfections in Xiaoshuo Gouchen that provide excellent examples of research for pursuers to come.The sixth chapter is a conclusion.
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