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논문 기본 정보

자료유형
학술저널
저자정보
蔡欣欣 (國立政治大學)
저널정보
한국외국어대학교 대만연구센터 대만연구 대만연구 제21호
발행연도
2022.12
수록면
135 - 149 (15page)

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Regarded as an Olympic event in the fields of economy, science, technology and culture, World’s fair (also known as Universal Exhibition or World Expo) has been striving to break down national boundaries and become an international platform for political power, commercial consumption and cultural competition. After the KMT government moved to Taiwan in 1949, to compete with the government of People’s Republic of China across the sea as the representative of the legitimacy of China, the authorities specially selected several Peking operas in Taiwan, which has a strong “Greater China sentiment” and has been labelled as a cultural icon of the Chinese nation, to honour the national identity of China and the Chinese nation and to participate in the World’s Fair in 1962 in Seattle, the one in 1970 in Osaka, and the one in 1974 in Spokane, as well as in the cultural performances on special occasions of the Republic of China, such as National Day (Double Tenth Day) in Taiwan. Supported by the political party and the military, these Taiwanese Peking operas were regarded as representations of traditional Chinese culture, and had the cultural rank of “national opera”. They wanted to tell the world that the Republic of China and the legitimacy of China are both in Taiwan through these operas, and to form a political code by overlapping National opera and National Day to strongly shape the national image of the legitimacy of China. After moving to Taiwan, Taiwanese Peking Opera, which was supported by the political party and the military, mainly focuses on the performance of traditional plays and the restoration of old ones, showcasing the artistic paradigm of Peking Opera and promoting the traditional ethical, moral and national values of loyalty, filial piety and morality. Contrast with the series of opera reform policies promulgated in China Mainland--revising the content and thematic awareness of Peking Opera, the aforementioned initiatives were in line with the policies advocated by the KMT government at the time, such as the Three Principles of the People, and could also brand the KMT government as the successor of orthodox Chinese culture. Since 1965, the Ministry of National Defence of Taiwan had organized competitions for theatre troupes in the military, responding to the context of the times and their political mission. These plays for the competition were similar to revolutionary model dramas adapted in the Chinese Cultural Revolution that began in 1966, in that they were national narratives that instilled mainstream political consciousness. Invited by the host country’s government through diplomatic channels, World’s Fair has traditionally been a diplomatic hub for friendly exchanges and political competition between nations. In 1971, the Republic of China (ROC) withdrew from the United Nations and many of its diplomatic allies broke off diplomatic relations with Taiwan, thus gradually losing the opportunity to attend the event.
#Peking Opera in Taiwan #World's fair #universal exhibition #The legitimacy of China #Cultural performance

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ABSTRACT
Ⅰ. 戰後京劇在臺灣承傳與政府護持
Ⅱ. 戰後「世博會」中臺灣京劇的歷史印記
Ⅲ. 臺灣京劇「正統中國」的型塑與想像
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