Sunday, October 15, 2006

YE4A 1094100032 Connie Dong
Professor Aiden Yieh
Research writing
19 October 2006
Annotated Bibliography

Hui-Lin Cheng. “ Taiwanese”~ Taiwanese opera at Interface. May, 2005
(1~2). The author mentioned that Taiwanese opera is more popular than Chinese
opera because Taiwanese opera use Taiwanese slang largely, and of course, it
expresses the spirit of local appropriately. Taiwanese opera is promoted as “local
culture” by government. (6~7). Taiwanese opera used to going down because of
the policy, which made by KMT, forbid to speak Taiwanese. KMT announced T-
aiwanese is dialect and imposed China identity on whole society. Whit the local
consciousness raising, the folklorist Lin Mao-Xian stated on newspaper (1990)
that “Taiwanese opera is the only native-born theater.”

Hung Shen-Chen “The research of The Life of Taiwanese opera Actor.” June, 1993
<> (32). “Nowadays, new Taiwanese opera actors performed incorrectly and didn’t learn hard, so that most of their performance are understnadered. How can we ask for excellent performance?” quoted from the interview of famous Taiwanese opera actress Liao Chong-Gie.

Liu Mei-Chin. “The concept of Taiwanese opera.” June, 1999
(54~55) Taiwanese opera was announced as “nation-damaged tune” by KMT
government due to controlling whole Taiwanese people, and forbidden to perform.
(117~118). There are two performance types of Taiwanese opera troupe, one is performed by vocal, the other is performed by tape record. The actors who perform by vocal are older but super than by tape record. (132~133) Fortunately, more and more researchers work in Taiwanese opera researching, and keen on maintain traditional culture, therefore, Taiwanese is hopeful to be developed.

Lin Mao-Cien. “The Beauty of Formosa, Taiwanese Traditional Drama. The Album of
Local Culture.” March, 2000.
(77). The KMT government attempted to use Taiwanese opera as publicity material of anti-communism. But the traditional drama grows up as folk drama, it must be damaged if it is used on political purpose. He also mentioned that the important features in Taiwanese opera are position (gestures, movement and eye contact) and good voice. (90~91). The prospect of Taiwanese opera is to be traditionalized and refined. Sing more than talk and keep working harder at movement improving. Make use of various tunes to enhance the music. Use the modern device in order to fit the trendy.

National Tradition Art Center. “To Hear the Voice from Taiwan History.” December, 2000.
(41). In conclude, the period of Japanese conquered is an important concern of Taiwanese drama history and the development of traditional drama shouldn’t be excluded by the consciousness type. We should fetch back it’s value in art and develop any traditional drama in equal.

Teri Silvio. “First as Farce, Then as Tragedy: Popular Allegory and National Analogy in Contemporary Taiwanese Opera.”
(1). The author mentioned about the Golden Ages of Taiwanese opera , and what Taiwanese opera had gone through these ages. (3~5) Silvio introduced the typical troupe, included the actress’s background, education and how they perform. (6~10). Silvio introduced simply about different type of performances, what o-pei-la and go-chhe-hi is. (9, 19) She mentioned the traditional tunes of Taiwanese are to: ma tioh and chhit-e-a. These two main tunes are still heard in the “refined Taiwanese opera”.


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