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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국중어중문학회 중어중문학 中語中文學 第84輯
- 발행연도
- 2021.6
- 수록면
- 1 - 26 (26page)
- DOI
- 10.46612/kjcll.2021.06.84.1
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초록· 키워드
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The present thesis was designed to explore the development process of Beijing’s theatrical field through overall operations of Liyuan-Huiguan in Beiging during the period of Qing Dynasty as well as through changes of the drama troupes which belonged to Liyuan-Huiguan and the theaters which took part in the activities of Liyuan-Huiguan on the basis of the inscriptions contained in『Beijingliyuanjinshiwenzilu (北京梨園金石文字錄)』.
During the Qing Dynasty in Beijing, two Liyuan-Huiguans coexisted: Liyuanguan and Jingzhongmiao Temple (精忠廟). Liyuanguan was purely a guild of Chinese opera actors in charge of its own primary functions, while Jingzhongmiao Temple was committed to perform public functions in connection with the government"s theatrical policy. Consequently, the status and function of the two Liyuan-Huiguans were different from each other, but the fact that they coexisted in Beijing during the years of kangxi (康熙) upto the end of the Qing Dynasty can be said to make itself an archetype showing the overall operation of the Liyuan-Huiguan in Beijing during the Qing Dynasty.
It was thus possible to note the detailed development of Beijing"s theatrical circles as described in the Chinese history of plays through transitions of drama troupes and theaters that participated in the activities of the two Liyuan-Huiguans. Through the transition of troupes, the flow of plays that were popular in Beijing during the Qing Dynasty could be clearly seen: that is, such melodies as Kunqu (崑曲), Yiyang (弋陽)and Bangzjqiang (梆子腔) in the beginning, Jingqiang (京腔) and Qinqiang (秦腔) in the reign years of Yongzheng (雍正) and Qianlong (乾隆), and Peking Opera after the years of Jiaqing(嘉慶)’s reign. Namely, it could be confirmed that the theaters in Beijing during the Qing Dynasty have become commercialized and been made larger in parallel with changing theaters.
Since the inscriptions contained in『Beijingliyuanjinshiwenzilu (北京梨園金石文字錄)』perfectly show in this way the real conditions of the theatrical circles in Beijing for 200 years during and after the reign of Kangxi in the Qing Dynasty, it is thought of having significant historical value to study the environments of plays in Beijing during the Qing Dynasty.
During the Qing Dynasty in Beijing, two Liyuan-Huiguans coexisted: Liyuanguan and Jingzhongmiao Temple (精忠廟). Liyuanguan was purely a guild of Chinese opera actors in charge of its own primary functions, while Jingzhongmiao Temple was committed to perform public functions in connection with the government"s theatrical policy. Consequently, the status and function of the two Liyuan-Huiguans were different from each other, but the fact that they coexisted in Beijing during the years of kangxi (康熙) upto the end of the Qing Dynasty can be said to make itself an archetype showing the overall operation of the Liyuan-Huiguan in Beijing during the Qing Dynasty.
It was thus possible to note the detailed development of Beijing"s theatrical circles as described in the Chinese history of plays through transitions of drama troupes and theaters that participated in the activities of the two Liyuan-Huiguans. Through the transition of troupes, the flow of plays that were popular in Beijing during the Qing Dynasty could be clearly seen: that is, such melodies as Kunqu (崑曲), Yiyang (弋陽)and Bangzjqiang (梆子腔) in the beginning, Jingqiang (京腔) and Qinqiang (秦腔) in the reign years of Yongzheng (雍正) and Qianlong (乾隆), and Peking Opera after the years of Jiaqing(嘉慶)’s reign. Namely, it could be confirmed that the theaters in Beijing during the Qing Dynasty have become commercialized and been made larger in parallel with changing theaters.
Since the inscriptions contained in『Beijingliyuanjinshiwenzilu (北京梨園金石文字錄)』perfectly show in this way the real conditions of the theatrical circles in Beijing for 200 years during and after the reign of Kangxi in the Qing Dynasty, it is thought of having significant historical value to study the environments of plays in Beijing during the Qing Dynasty.
목차
1. 들어가면서
2. 북경 이원회관의 운영 상황
3. 북경 희곡계의 전개 양상
4. 나오면서
參考文獻
Abstract
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