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 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 had been described as “dance expressions in (an itself, not its acting script)”, but in 1989, Wang, for the first time, used the terms, “dance movements in .” Now, both in China and in Taiwan, these terms are widely used. In addition, because the terms of dance movements in include dance movements in all operas including Peking , this paper inserts “Peking”: dance movement in Peking . Players of the dance movements in Peking are called Peking actors.

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In the Restoration Age, Gioachino Rossini (1792-1868) came to Paris and presented two adaptation operas at the Opéra de Paris: Le Siège de Corinthe and Moïse. What role these two operas played in the history of the

has not been examined in detail, compared to his , Guillaume Tell (1828). The purpose of this article is to reveal the fact that Moïse (1827) played an important role in opening a new age of operas immediately before the establishment of grand at the Opéra de Paris by discussing how this was first performed in Paris.

Moïse was adopted from his own Italian

Mosè in Egitto, which was first presented in Paris in 1822. Examination of the adopted Moïse in detail showed that renewed music especially in the 3th act (the scene of the conflict between Hebrews and Egyptians) had dramatic effects on the scene, which led to Rossini's musical dramaturgy highly appreciated by the audience.

When he adopted the

, he faced a difficulty in reconstructing the stage of le passage de la mer rouge in 4th act, known for melodrama of Hapdé (1817). To resolve this problem, the composer and set designer experimented new staging in which visual reality is fused with music by emphasizing the chorus of Hebrews. This experiment failed in this but motivated him to bring innovation to operas, eventually leading to the birth of a new genre, grand .

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It's been generally considered that the term “Buyo” was made by Shoyo Tsubouchi. But the term was used by Ochi Fukuchi before him. The purpose of this study is to clarify that the term used by Ochi Fukuchi is the origin of “Buyo” being used today. The method of study is as foll ows:
1. To clarify where and now the term was used.
2. To examine the background datum.
The results out of the procedures written above are summerized as follows:
1. There is a use of the term in the “Kaiojidan” and there are seven uses in the “Engekihimitsudan”
2. He called the “Ejanaika-Odori” by people “Buyo” in the “Kaiojidan”.
3. In the “Engekihimitsudan” he used the term to grasp and improve conditions of Japanese-. He called the movement with Kyokufushi (music) “Buyo”. And emphasized that it was important to the . His ideal was Western- but he thought the tradition of Japanese- was also precious.
On there grounds I have come to the conclusion we may say that the term “Buyo” used by Ochi Fukuchi is the origin of “Buyo” being used today.

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The Peking

actress Shisandan, who was born in Jiangsu China at the end of the 19th Century and had been performing on stage since early childhood, and who was highly regarded as a skilled performer in China, came to Japan leading a troupe in April of 1926. Starting in Kobe and extending throughout Japan, she performed both new works and classic pieces from Peking , and introduced the state of Peking at that time and the existence of the Peking actress. She also appeared in a play within a play which was part of a new Kabuki piece, and fulfilled her role in Japanese and Chinese theater relations. However, because of these shows in Japan, Shisandan was unexpectedly caught in the midst of a war between military factions in China and international conflict between Japan and China. Unfavorable conditions continued to persist and there were many saddening aspects to her life. It can be said that Shisandan is a pioneering figure among Peking actresses. Centering on the performances in Japan, the short life of Shisandan will be introduced here.

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The staging of Norwegian director Stefan Herheim (1970-) is characterized by a critical musicology, such as musical hermeneutics of Lawrence Kramer. Like Kramer, Herheim takes advantage of the performative power of interpretation. His puzzle-like mise-en-scène, where a number of historical facts concerning the composer and the reception history are simultaneously visualized, is a summary of the information on the , which helps us to make up our stories. Equally important are the emotional and even religious aspects of Herheim’s staging. He often directs an to show that its tragedy was already done at the beginning. The unrealized possibilities are suggested by the coexistence of past and present which reproduces the ambiguity of reality. We feel regrets about the past of the characters, and about our own past. This experience has a cathartic effect of what I call operatic flashback, which functions as a therapy for us because we are not sure of the rightness of our choices about life in the era of postmodern loss of legitimacy. has told incessantly the failed attempts to change the course of fate, most distinctively exemplified in the myth of Orpheus. Herheim’s is a postmodern version of the myth.

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