• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.211-219
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• 2021

Chinese Tibetan Opera is a highly comprehensive drama type, which combines the educational aesthetic characteristics of the realism of Western drama and the freehand of Chinese opera, including mask play, square play, ritual play and religious play. Tibetan opera, as a kind of local drama, has high research value, which is determined by its educational aesthetic characteristics. The world's three major dramas include Sanskrit dramas in India, tragic-comedies in ancient Greece and Chinese dramas, which have different forms of expression and educational aesthetic characteristics. Because of the particularity of its birthplace, Tibetan Opera inherits some of the three forms of the above three dramas. Ancient Greek tragedies originate from the sacrificial ritual of the god of wine. In the early ceremonial action performances, the actors were all men and needed to wear masks to perform. In Tibetan opera, men also play a role in masks, which are originated from the folk totem dance and religious pantomime music and dance. Due to the long history of Indian Sanskrit drama, except for the relevant records in dance theory, the specific performance form can not be verified. However, according to the relevant records in dance theory, the three characters "Wenba", "Jialu" and "Lamu" in the opening play of Tibetan opera are similar to the "concept character play" in Sanskrit opera. Tibetan Opera is a very important part of traditional Chinese opera, which inherits the educational aesthetic characteristics of Chinese opera.

• Korean Association of Arts Management
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• no.49
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• pp.87-115
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• 2019

The impact of "Korean wave" has gradually expanded in recent years, its spread trend can also be seen in the United States, South America, and even in Europe. As the earliest and largest importer of Korean culture, China's importance is self-evident. Based on the results of empirical analysis, and analyze the importance and satisfaction of each element that makes up the four factors(Music, Dance, Style, Story) with IPA method, as well as the impact of its rankings on K-POP fans phenomenon in China. The results of this study are organized as follows. Firstly, according to the analysis results, only 10.5% of the K-POP fans are male, and K-POP fans are generally young, their age mainly concentrates in the first half of the 20th (49.0%). Secondly, among the survey respondents, 65% of the fans have positive comments on the Korean Wave, most of K-POP fans obtain their idols' information through Internet, and 49.5% have consumption behaviors for their favorite idols. Thirdly, it can be seen from the data of survey results that fans attach the greatest attention to the importance and satisfaction of the melody elements in terms of music, and the performance effect in terms of dance, the appearance is chosen as the priority in terms of styling, as for the last factor, topicality, the broadcasting is the first choice. In view of the formation of the phenomenon of K-POP fans among Chinese Korean fans, by conducting the correlation analysis and research on the importance and satisfaction of each factor through data, this study is with great practical significance in academic research, it can be used as practical and meaningful material for the K-POP fans among Chinese Korean fans.