台湾における京劇戯曲舞踊の基本技法研究
部位技法の原理
2004 年 2004 巻 27 号 p. 13-25
詳細
2004 年 2004 巻 27 号 p. 13-25
This paper is part of a series of ongoing studies intended to examine the structure of body expressions of the basic techniques in dance movements in Peking opera in Taiwan. Based on previous studies on the basic techniques (Fu 1997, 2001, 2002, 2004), this paper aims to clarify the features of techniques and expressions in four areas of the body (head, hands, legs, and body). Moreover, examining the features of the expressions of the different parts of the body in terms of the Chinese perspective of body, this paper aims to clarify the principles of the body area techniques.
The terms of dance movement in opera had been described as “dance expressions in opera (an opera itself, not its acting script)”, but in 1989, Wang, for the first time, used the terms, “dance movements in opera.” Now, both in China and in Taiwan, these terms are widely used. In addition, because the terms of dance movements in opera include dance movements in all operas including Peking opera, this paper inserts “Peking”: dance movement in Peking opera. Players of the dance movements in Peking opera are called Peking opera actors.
