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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2009.11
- 수록면
- 307 - 333 (27page)
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The major characteristic of Lu tian cheng's theory of natural color lies in having made explicit the significance of natural color and 'dang hang'. But Lu tian cheng emphasized that there should be an organic relation between 'dang hang' and natural color. And regarding the language of play, he harmonized decoration with natural color, saying "the language should be graceful, but not affected too much, plain but not vulgar."
On the other hand, Qi biao jia limited natural color to the language of play, defining natural color as "the natural and vivid language of daily life" implying 'nature,' 'lang che,' 'ming chang.' He assumed a tolerating attitude even toward the works he was worried about. At the same time, he objected to the excessive vulgarness, which is rather in line with Lu tian cheng's theory of natural color.
In regard to the structure of play, Lu tian cheng proposed 'the conciseness of opening and the plot"shan fan jiu jian', He also proposed 'zhu ci fen ming ' which asserts that proportion of the parts occupied by the characters in the plot should vary according to the importance of the episodes and characters. Lastly, he proposed 'the interweaving of plots' 'qing jie xing cuo', which was a relatively unusual idea in his time.
Qi biao jia's theory of the structure of play is very comprehensive, including not only Lu tian cheng's "shan fan jiu jian' and 'fan jian de yi' but also 'xian hou guan chuan', 'qu zhe bo lan' and some opinions concerning the ending. Among them, 'the ending of departing' which he emphasizes can be regarded as a considerably advanced one.
Lu tian cheng's theory of plot is very extensive, including almost all the elements such as beauty, emotion, novelty, grotesque, truth, emptiness, fullness. What is singular about his theory is that he tries to harmonize opposite concepts such as grotesque/ truth and emptiness/fullness.
The characteristic of Qi biao jia's theory of plot lies in that the notion concentrates almost entirely on 'truth.' Grotesque, emptiness and emotion are all based on truth. The significance of this theory lies in that his notion clarified play's relation to reality, by allowing access to the biographies from the side of 'reality'.
On the other hand, Qi biao jia limited natural color to the language of play, defining natural color as "the natural and vivid language of daily life" implying 'nature,' 'lang che,' 'ming chang.' He assumed a tolerating attitude even toward the works he was worried about. At the same time, he objected to the excessive vulgarness, which is rather in line with Lu tian cheng's theory of natural color.
In regard to the structure of play, Lu tian cheng proposed 'the conciseness of opening and the plot"shan fan jiu jian', He also proposed 'zhu ci fen ming ' which asserts that proportion of the parts occupied by the characters in the plot should vary according to the importance of the episodes and characters. Lastly, he proposed 'the interweaving of plots' 'qing jie xing cuo', which was a relatively unusual idea in his time.
Qi biao jia's theory of the structure of play is very comprehensive, including not only Lu tian cheng's "shan fan jiu jian' and 'fan jian de yi' but also 'xian hou guan chuan', 'qu zhe bo lan' and some opinions concerning the ending. Among them, 'the ending of departing' which he emphasizes can be regarded as a considerably advanced one.
Lu tian cheng's theory of plot is very extensive, including almost all the elements such as beauty, emotion, novelty, grotesque, truth, emptiness, fullness. What is singular about his theory is that he tries to harmonize opposite concepts such as grotesque/ truth and emptiness/fullness.
The characteristic of Qi biao jia's theory of plot lies in that the notion concentrates almost entirely on 'truth.' Grotesque, emptiness and emotion are all based on truth. The significance of this theory lies in that his notion clarified play's relation to reality, by allowing access to the biographies from the side of 'reality'.
목차
Ⅰ. 緖論
Ⅱ. 戱曲本色論 比較
Ⅲ. 戱曲構造論 比較
Ⅳ. 戱曲情節論 比較
Ⅴ. 結論
참고문헌
〈Abstract〉
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