| As is known to all, quyi, a general term that covers several different types of performances in which speech, singing or both are used, including ballad singing, story telling, comic dialogues, clapper talks, cross talks, etc., is the quintessence of Chinese national culture and folk art. Interestingly, this type of performing art can also be found in Korea. It is safe to say that quyi, like other forms of art, is, in a sense, universal. However, owing to various reasons, such as the naming and categorization of this kind of art in China and Korea, there is little exchange between the two countries in this field. Consequently, a shared view concerning this type of art among scholars and experts in these two countries is yet to arrive at. In Korea, there is not a commonly accepted name or definition for such type of art. Small wonder there is not even a clear definition of P'ansori, a representative of this type of art in Korea. In view of the above-mentioned facts, the writer of the present paper tries to make a contrastive study of the art of quyi in both countries.Quyi, which has a long history in both countries, boasts many forms. However, owing to the limitation of time and space, the present paper dwells upon the comparison and contrast between Suzhou tanci (storytelling to the accompaniment of stringed instruments prevalent in Suzhou, Jiangsu Province) in China and P'ansori in Korea instead of quyi as a whole. And for the sake of convenience, the focus is laid upon the creation and performances of both types of art in the feudal society. Although this kind of study has its limitation, it, as a pioneering study, is of great importance. First, the paper will give the readers a clear idea of the nationalism and universalism of the art of quyi. Second, the paper will help to encourage scholars and researchers of quyi in both countries to increase academic exchanges so as to share similar views concerning this special art form. Third, the paper has made a contrastive study and analysis of various factors contained in the art of quyi of both countries, factors like social culture, national mentality, and aesthetic approaches, so that the readers will have a complete and deeper understanding of the cultural and aesthetic value of the two forms of quyi. Fourth, as a contrastive study of quyi in China and Korea is a virgin land to be cultivated, the present paper is of a pioneering nature.Suzou Tanci and P'ansori are both a comprehensive art with literature, music and performance well combined. Therefore, the presentpaper makes a contrastive study of the three aspects of the two art forms. As far as the method of study is concerned, a parallel research method, which is commonly used in contrastive literature, is adopted from the very beginning to the end. In addition, theories of sociology, culture and aesthetics are used for reference to analyze and explain the factors contained in the art of quyi of both countries as mentioned above, factors like social culture, national mentality, and aesthetic approaches.The research results of the present paper can be summarized as follows:First, there is not a clear definition or description of P'ansori in the academic circle of Korea for a long time. The present paper is the first to regard P'ansori as an art of quyi so as to help change the hazy understanding of P'ansori in the Korean academic circle.Second, the paper is the first to make a contrastive study of Suzhou tanci and P'ansori from the perspectives of literature, music and performance to reveal the differences as shown in the cultural and aesthetic traits of the two art forms.Third, new ideas are put forward during the study. 1) Both Suzhou tanci and P'ansori show the pluralism of the theme. Yet, there is always a dominant theme threading through them. That is, Suzhou tanci is meant for small townsfolk while P'ansori is intended for the masses of the people. Therefore, each has its own captive audience, striking a responsive chord in their hearts. 2) While Suzhou tanci is a speech-... |
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