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Shadow Play Of Investigation And Research In Southern Liaoning

Posted on:2013-04-14Degree:MasterType:Thesis
Country:ChinaCandidate:X L LiuFull Text:PDF
GTID:2235330371970442Subject:Drama
Abstract/Summary:PDF Full Text Request
LiaoNan area was called“Guanwang’s land”in acient time. Itmainly includes ten counties and cities, those are Dalian, WaFangDian,PuLanDian, DaShiQiao, Zhuang He, Chang Hai, Ying Kou, Hai Cheng,Gai Zhou and You Yan. An exclusive district was established here in1960s. During the three kingdoms’period, GuanNing, WangLie cameto Shandong giving lectures, and this made the local culture differentfrom that in other areas. This is the reason why this area was called“GuanWang’s area”. With the development of economic and cultureexchange in Ming and Qing dynasty,“Shadow Play”from Central Plainwas brought to Liaonan area, and transformed into“Liaonan shadowplay”with special art value according to local characteristics.This paper will discuss“Liaonan shadow play”from nine parts. Theintroduction is history of Chinese shadow play. The first Chapter ishistory and development of Chinese shadow play, including theinfluence of Chinese shadow play had on Liaonan shadow play andexploration and innovation of Liaonan shadow play devoted by manygenerations of art men. The second chapter is an introduction of artmodels in Liaonan shadow play from four aspects: First chop,Stamp,Finely chopped and Field-chip. The third Chapter is aboutcreation of Liaonan shadow play from music and performance aspectand gives a detailed illustration of three historical stages itexperienced. The forth Chapter is introduction of ways of singingincluding which can be further divided into nine kinds of Bigvoice,small voice ,Yin and yang throat. The fifth Chapter is aboutdifferences among the seven kinds of lyrics and innovation on rhythmof Liaonan shadow play. The sixth Chapter introduces six differentforms and skills of performance of Liaonan shadow play. The seventhChapter is about the models in Liaonan shadow play and theprocedure of manufacturing shadows. The eighth Chapter states howLiaonan shadow play transformed into Liaonan fromSinging,Accompany and so on. The ninth Chapter introduces differentclassifications of Liaonan shadow play and takes Fuzhou shadow playas an representative example for detailed illustration of Liaonanshadow play.
Keywords/Search Tags:study of local play, Liaonan shadow play art characteristics, Ying Diao play, manufacture procedure
PDF Full Text Request
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