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A Study on Chinese Opera in Malaysia(Chinese Edition)

KANG HAI LING

ISBN 10: 7561546572 / ISBN 13: 9787561546574
New Condition: New Soft cover
From liu xing (JiangSu, JS, China)

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Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Paperback. Pub Date :2013-05-01 Pages: 331 Language: Chinese Publisher: University Press of Xiamen Xiamen University Television Drama Series: Malaysian Chinese Opera Research The main contents include: Stage Flow: About Malaysian Chinese opera. walked the streets : academic History . multi -eration : research questions and methods century in Retrospect : Malaysian Chinese drama history overview. ups and downs : Malaysian Chinese drama historical circumstances . and splendor : operas of divers.Four Satisfaction guaranteed,or money back. Bookseller Inventory # BR036276

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Title: A Study on Chinese Opera in Malaysia(Chinese...

Binding: paperback

Book Condition: New

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《厦门大学戏剧影视丛书:马来西亚华语戏曲研究》主要内容包括:舞台流动:关于马来西亚华语戏曲、走过的路:学术史回顾、多重忧思:研究的问题和方法、世纪回眸:马来西亚华语戏曲史概述、跌宕起伏:马来西亚华语戏曲的历史境遇、异彩纷呈:戏曲剧种的多样性、文化他者:马来西亚华语戏曲的独特性、多向指涉:世俗语境下的华语戏曲、华语戏曲与马来西亚华人的节日民俗、从娱神到娱人和狂欢、舞台展演与意识形态等。首先表现在戏神方面,各剧种都有自己奉祀戏神的习俗。戏神又称师傅,如潮剧戏神为田元师和九皇;梨园戏戏神为田都元帅,俗称相公爷;粤剧戏班奉祀的戏神有华光大帝、田窦二师、张五师傅和谭公爷;琼剧的戏神最主要的是华光大帝。在海南本土,琼剧的戏神其实是以华光大帝为主的一个神道体系,华光大帝左右是窦、郭、田三位配神,下面还有众多神侍,琼剧的戏班主要是奉祀华光大帝。其次,表现在弄八仙上。琼剧的弄八仙最有特色,俗称"排八仙",即《蟠桃宴》、《蟠桃会》或《八仙贺寿》。"排八仙"有大小之分,均用官话(中州音,也即读古文的语音)念大字、唱小曲和道白,其间夹杂一些海南土音土话。大八仙有上中下八仙二十四名,及王母娘娘和仙女两名共二十七名演员。排大八仙,须由上中下八仙依辈次上场,上八仙为东方朔、李大仙、王禅、王敖、孙膑、二郎爷、小白猿、陈搏;中八仙为曹国舅、张果老、汉钟离、李铁拐、吕洞宾、韩湘子、蓝采和、何仙姑;下八仙为罗圣祖、张千、鲁班、刘海、杜康、南极子、梅花童子、刘伶,最后由王母娘娘和侍女上场。排中小八仙,就只有八仙及王母娘娘、两位仙女上场。琼剧的"排八仙"是马来西亚各剧种八仙阵容最大的。莆仙戏的"弄八仙"分"弄大八仙"和"弄小八仙",小八仙包括李铁拐、汉钟离、吕洞宾、何仙姑、曹国舅、张果老、蓝采和、刘海蟾。在莆仙戏弄八仙中,没有韩湘子,只有刘海蟾,这是比较特别的。据考证,宋元时代中国道教形成南北两宗,北宗的道教以王重阳、钟离权、吕洞宾、王玄甫、刘操(海蟾)为祖师,称为北五祖。现普遍流行的八仙人物是明初定型的,在这以前,莆仙戏的"弄八仙"中以刘海蟾取代韩湘子。莆仙戏的"弄大八仙"除上述八仙外,还增加王母娘娘、两侍女、虾兵、蟹将、龟丞相等等,这也是比较特别的。梨园戏的演戏习俗很不相同,演出时不是先"弄八仙"而是必须由田都元帅先演"献棚",乐队帮唱【懒怛】曲牌,它是由"哕哩连"三个音组成的无字曲,表示三十六天罡和七十二地煞,共一百零八音。再者,表现在"神期"上,马华戏曲各剧种为神诞演戏较多,而各华人社区"神期"不同,演戏的习俗迥然不同。如琼剧的惯例,正月演元宵戏,二月演军坡神诞戏(天天演),三月演清明戏,四月演禁戏,五月演端阳戏,六月演灶君戏,七月演中元赈济戏,八月演中秋戏,九月演祖师公(华光大帝)戏等。......第一章导言:在舞台的跨国流动中反思第一节舞台流动:关于马来西亚华语戏曲第二节走过的路:学术史回顾第三节多重忧思:研究的问题和方法第二章世纪回眸:马来西亚华语戏曲史概述第一节跌宕起伏:马来西亚华语戏曲的历史境遇第二节异彩纷呈:戏曲剧种的多样性第三节文化他者:马来西亚华语戏曲的独特性第三章多向指涉:世俗语境下的华语戏曲第一节华语戏曲与马来西亚华人的节日民俗第二节从娱

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