• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.475-477
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• 2010

경극은 중국의 전통극 중 하나이다. 경극의 영어 명칭은 'peking Opera'다. 경극의 "분장"은 희극에서 배우들이 얼굴에 하는 채색 화장을 가리킨다. 경극 배우들의 얼굴 분장을 '검보'라고 한다. 형태, 색채와 유형 면에서 특별한 양식을 갖춘다. 본 논문은 중국에 전하는 가면극의 외면적 표현 형태를 시각디자인 조형영역 분석을 통해 학문적 가치를 창출하는데 목적이 있다. 본 논문의 연구 영역은 경극의 유래, 색채, 형식적 측면에 대한 조형분석과 가면의 표현형식, 즉 표형기법, 색상구성, 형태구성, 역할특성 등의 구성형식을 조형적 분석 틀에 의해 분석하고자 한다. 가면 얼굴의 대표문양 분석을 통해 단순화 표현형식으로 작품을 만들어 연구하고자 한다. 분 논문의 의의는 중국 전통경극의 집중적 연구의 결과 추출을 통해 한국의 유사 전통탈춤과 비교하는 연구의 귀중한 자료로 예측되기에 본 연구를 진행하였다.

• 중국학논총
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• no.27
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• pp.147-166
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• 2009

New year pictures prevailed from 1660s to 1860. Especially, the reign period of Emperor Qianlong(r. 1736-1795) was the period of prosperity. The period of 1660s when new year pictures were started to be popular was the reign period of Emperor Kangxi(r. 1662-1722) was just started and corresponded to Emperor Kangxi's promulgation of "Sacred Edict." Chinese operas such as Peking opera were very popular among common people in the period from 1660s to 1860 when new year pictures prevailed. Qing emperors as foreign ruler chose the way of ruling their people by means of cultural influence in stead of military power. However their culture effort was not efficient toward the majority of illiterate people. New year pictures offered every information about the world through visual icons to the illiterate people at that time who perceived the world by means of seeing. They met the world through visual information offered by new year pictures. New year pictures were the stronger visual medium to spread and educate "Sacred Edict" to illiterate subjects than any other guide books published by elite officers.

• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.57-58
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• 2017

중국 경극에서 얼굴에 다양한 분장을 하는 것을 검보라 하며, 극 중에서는 다양한 상징성을 갖는다. 검보는 민족적 특색을 내재하며, 극중 캐릭터를 위한 "영혼의 화면"이라 불린다. 반면, 일본 노극은 가면을 쓰고 연기하는 독특한 고전 가무극으로 히타멘(直面, 가면을 쓰지 않음)과 가면을 쓰는 공연으로 나뉘며, '유현(幽玄)의 예술" 이라고 불린다. 이러한 경극의 검보와 노극의 가면은 애니메이션에 캐릭터에 차용되며, 극의 서사와 상징성을 드러내는 매개 역할을 하고 있다. 이에, 본 연구에서는 경극의 검보와 노극의 가면이 연출된 애니메이션 영화를 중심으로 사례 비교연구를 진행하고자 한다.

• Cross-Cultural Studies
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• v.31
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• pp.35-64
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• 2013

This thesis seeks to compare China's Jing-ju and Japan's Kabuki for their common aspects and differences and examine how they are performed on the stage. Jing-ju is often called as Beijing Opera to refer to a musical play completed during the mid-Ching era and developed around Beijing. Jing-ju is composite arts of music, dance and play which are remarkable in its strict patterns in move along with luxurious costume and heavy make-up. Kabuki which was developed during the Edo-period, is expressional arts also structured with music, dance and play coupled with extravagant costume as well as even more strictly controlled move and emphasis on the beauty of form. The two plays seem very similar to each other in their time setting to gain popularity or features of play. It may look obvious that Jing-ju which had developed earlier than Kabuki, affected the latter's formation. However, general social practices or cultural trends in China and Japan at the time of their development also influenced literature and arts thus affecting play contents and performance expressions. Although the two plays have similar stage structure, they developed in different ways with detailed differences and actors' performance on the stage, way of using a stage and other ways of directing play are largely distinctive from each other. If a play's primary goal is to gain recognition of audience and draw their positive response, the relationship between play and stage becomes essential. With this understanding, this thesis aims to identify where such similarities and differences between the two plays are from by comparing historical background, stage structural development and directing manner development at a basic level.

• The Journal of Art Theory & Practice
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• no.5
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• pp.197-215
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• 2007

Yangbanxi("model plays") symbolize the Cultural Revolution(1966~1976) in China. The Eight Model Revolutionary Works include five Chinese Modern Peking Operas, namely, Taking Tiger Mountain by Strategy(智取威虎山), Harbor(海港), Shaijabang(沙家浜), The Red Lantern(紅燈記), and Raid on the White Tiger Regiment ; (奇襲白虎團), ballets such as The Red Detachment of Women(紅色娘子軍) and The White-Haired Girl(白毛女) ; and a symphony: Shajiabang(沙家浜). On April 24, 1967, Chinese leaders, including Mao Zedong, saw a performance of The White-Haired Girl. Yanbanxi was performed in Beijing between May 24 and June 15 the same year. The Red Lantern was designated as a work for the proletarian classes by Jiang Qing(Mao Zedong's third wife and the most influential woman in China) and spread nationwide. It was also made into a film to be enjoyed by many people. The modern Chinese operas went a long way in their creation of visual images of revolutionary heroes. The Red Lantern, in particular, came to be regarded as the most representative revolutionary opera. In the course of such a process, Jiang Qing used Yangbanxi as a political tool for compelling the people to worship and pledge their allegiance to Mao in an effort to turn the Cultural Revolution into a class struggle on behalf of her husband. During the Cultural Revolution period, artists were made to associate with workers, farmers and soldiers based on the idea of advocating revolutionary arts for the proletarian classes. The characters in The Rend Lantern were portrayed as heroes from the proletarian classes according to the demands of the era. Chinese leaders set forth the principles of artistic expression, stressing three important factors: politics, heroes, and heroic acts, which were to be applied to all the visual arts, including Yangbanxi. This paper attempts to present a new view of fine arts during the Cultural Revolution in China by focusing on the productive significance of a leading style of a specific era in the past. To that end, this paper sheds light on products made in conformance with political instructions, stressing the importance of revolutionary heroes in The Red Lantern.