Local Opera Research Articles

라미라가극단(羅美羅歌劇團)의 설립 의의와 공연 현황에 관한 연구

Ramiraga Opera Troupe(Ramira Gageukdan) was founded by Seo Uisik, Seo Hangseok, and An Giyeong, and its predecessor was the Columbia Musical Troupe(Columbia Akgeukdan). Seor Uisik decided to establish an indigenous opera troupe in order to culturally oppose the Japanese policy of suppressing speech and writing, and for this purpose, he formed Columbia Musical Troupe(Columbia Akgeukdan) under Columbia Record Company in partnership with Columbia Record Company. And he organized Joseonyeheungsa and took the lead in planning the works and operating the theater company, and entrusted the composition of the works and performance direction to his former colleague Seo Hangseok. In addition, An Giyeong was in charge of composing the music necessary for the opera and assigning it to Korean opera work. These series of efforts led to the birth of the Ramira Gageukdan. Ramira Gageukdan officially held its inaugural performance in December 1941, performing 〈Kongjwipatjwi〉 and 〈Gyeonujingnyeo〉 at Bumingwan. ince then, the two works and 〈Galaxy〉 have emerged as representative works of Ramiraga Opera Troupe(Ramira Gageukdan) and are remembered as typical examples of ‘Korean local opera’. This study aims to examine the founding process and origins of Ramira Gageukdan, as well as its representative performances and aesthetic characteristics. Ultimately, this study was designed to examine the situation of the Korean theater world in the 1940s, which was oriented toward indigenous theater troupes, and to discuss its historical significance.

Innovative Cultural Transmission Paths Analysis for Local Opera Based on Data Mining

With the rapid development of society and cultural diversity, local opera, as a representative of traditional art, faces dual challenges of inheritance and innovation. The inheritance of traditional Chinese opera often relies on oral instruction, but in modern society, this method is no longer suitable for the rapidly changing cultural environment. The purpose of this study is to explore in depth the innovative cultural dissemination path of local opera through data mining techniques. This paper uses data mining techniques to explore and analyze the inheritance of innovative culture in local opera, and to study the inheritance paths. This paper proposes a data mining-based method for analyzing and identifying the paths of inheritance of innovative culture in local opera. This paper focuses on two aspects of technology clustering and technology theme association, and the research paths are divided into flexible clustering based on data enhancement and technology evolution path identification based on theme extraction. Firstly, the heritage changes of dating tunes are discussed. Secondly, the unique artistic esthetics of the dating tune is compared with the artistic characteristics of Henan opera and the three-stringed book. Through the research and learning experience of the Dai Yongqu, it is easier to thoroughly understand the artistic essence and cultural connotation of the Dai Yongqu, and that exposure to the Dai Yongqu is a process of touching traditional culture. In the text clustering section, the data co-occurrence frequency matrix is constructed based on the results of multiple clustering, transforming the problem of determining the number of clusters into a co-occurrence frequency problem with semantic information of the text, thus achieving the purpose of flexible clustering on demand. In a comparison with existing methods, the text representation method using data-enhanced coding achieves better semantic coding results. The flexible clustering method can differentiate the data better than the clustering method with a defined number of clusters and obtains clustering results with high intra-class similarity and high inter-class differentiation.

Musical Literacy and Education: A Historical Analysis of Huaibang Opera Development in Henan Province, China

This research employs a multidisciplinary approach, incorporating musicology and ethnomusicology, to explore the cultural significance of Huaibang Opera—a traditional Chinese Han ethnic local opera genre in Henan province, China. The investigation encompasses the historical evolution, cultural contexts, and musical attributes of Huaibang Opera, aiming to contribute to education, literacy, and a deeper comprehension of this traditional art form. The methodology involves interviews with key informants possessing profesional experience in Huaibang Opera, coupled with live performance observations. Through the analysis of collected data and its alignment with existing literature and theoretical frameworks, the study delineates the evolution of Huaibang Opera from a folk song art form to a prototype opera and its subsequent establishment as a local opera. This comprehensive examination sheds light on the cultural and artistic dimensions of education and literacy within Huaibang Opera, providing valuable insights into the historical significance, artistic expressions, and cultural heritage of this distinctive Chinese opera.

Shanxi Local Opera and Malaysian Chinese Opera Clothing Fabrics

This paper, literature research, and comparative research were used to systematically study the costumes and fabrics. The paper finds that the clothing fabrics of Shanxi local opera have the magnificence of ancient Chinese costumes, and the process technology is mainly color embroidery, gold embroidery, and mixed embroidery. The fabrics of Malaysian Cantonese opera costumes are relatively more luxurious, with a very obvious Lingnan style. In the end, the article argues that historical and cultural changes have dominated the differentiation of fabrics. The research can further promote the theoretical and practical exploration of the intrinsic value of theatrical costumes.

Ethnomusicological Perspectives on Gaomi Miaoqiang: Unveiling the Cultural Tapestry

This ethnomusicological study delves into the vibrant tapestry of Gaomi Miaoqiang, a traditional Chinese folk opera hailing from the Shandong province, exploring its historical evolution, linguistic intricacies, musical characteristics, and cultural implications. With a foundation rooted in the "肘鼓子" (Zhou Guzi) series of Shandong local operas, Gaomi Miaoqiang has evolved over centuries, blending folk singing styles and incorporating influences from Huagu yangge and Lüqin opera. Acknowledged as China's 67th National Intangible Cultural Heritage, Gaomi Miaoqiang represents a profound cultural legacy.The study scrutinizes the language features of Gaomi Miaoqiang, emphasizing simplicity, clarity, and the integration of local dialects, reflecting the rural life of the Gaomi community. Musical analysis unveils the operatic singing styles, instrumental accompaniment, and the evolution of musical composition. From the authentic tones of the "Original Board" to the intricate patterns of the "Dayoutou Board," Gaomi Miaoqiang's musical journey embodies emotional depth and narrative complexity. The study also explores the roles, makeup, costumes, and stage art, highlighting the art form's transition from grassroots performances to professional troupes. Furthermore, Gaomi Miaoqiang's cultural significance is illuminated, portraying its role as a conduit for spiritual solace and emotional release within local communities. Recognizing its enduring influence, the study advocates for the preservation of Gaomi Miaoqiang's distinctiveness amid urban influences. As Gaomi Miaoqiang navigates the intersection of tradition and modernity, it emerges as a cultural beacon, casting light on the rich legacy of Chinese folk opera and emphasizing the critical role of ethnomusicology in unraveling the intricate threads of cultural heritage.

Research on the Inheritance and Promotion of Traditional Opera Culture—Taking the Local Opera South Road Silk String as an Example of the National Intangible Cultural Heritage Project

Research on the Inheritance and Promotion of Traditional Opera Culture—Taking the Local Opera South Road Silk String as an Example of the National Intangible Cultural Heritage Project

Pugilists, Ponies, and Propriety: A Micro-History of Popular Athleticism at the Local Opera House

Pugilists, Ponies, and Propriety: A Micro-History of Popular Athleticism at the Local Opera House

Practical Transformation Exploration of Local Opera Culture Empowering Artistic Rural Construction: Taking Hailufeng Intangible Cultural Heritage Opera as an Example

Practical Transformation Exploration of Local Opera Culture Empowering Artistic Rural Construction: Taking Hailufeng Intangible Cultural Heritage Opera as an Example

중국 전통 희곡의 존속에 대하여

Recently, traditional plays that show a combination pattern with online games and exist in a new field and a new way are breaking away from the way of scriptural plays. How should we recognize the crossover game and traditional crossover trend, which is sometimes considered a provocation against the “dignity of tradition”? Through this paper, I specifically tried to review how classical and modern, drama and game elements were fused, and to explore their achievements, problems, and future directions in terms of the modern succession of traditional plays. In this paper, the main research target is the 『Honor of Kings(王者荣耀)』 released game in 2015, which has recently been very popular among the game fields enjoyed by the younger generation in China. Game is a new play culture popular in modern digital society, and it seems to have nothing to do with ‘tradition’. Nevertheless, most of the hero characters in the 『Honor of Kings(王者荣耀)』 game are related to Chinese historical legends, myths or literature, and traditional Chinese culture and values are often projected on them. I believes that the combination of the hero shape character in the game and traditional Chinese characters is the most important cause of the popularity of 『Honor of Kings(王者荣耀)』, and especially focused on the connection with the play characters. Currently, 『Honor of Kings(王者荣耀)』 has officially uploaded the appearance of the hero's skin in conjunction with four plays: Beijing Opera(京劇), Kunqu Opera(崑曲), Sichuan opera(川劇), and Yue opera(越劇). First, as a combination of Peking opera(京劇) and game, it is the skin of Xiangyu(項羽) and Yuji(虞姬) in Peking opera 『Farewell My Concubine(霸王別嬉)』. Second, in the Kunqu Opera(崑曲) 『Jingmeng(惊梦)』, the figure of Duliniang(杜丽娘), which crosses life and death due to love, was transformed into one of the skin sculptures of the beautiful hero Zhenji(甄姬). Although it is not a traditional character, the Mengqi(梦奇), original hero character, in 『Honor of Kings(王者荣耀)』 was also given the skin appearance of Pangdarongrong(胖达荣荣) made by linking Sichuan opera(川劇) plays among traditional Local opera(地方戲). Finally, it is the shape of the game hero Nuxiaosheng(女小生) of Shangguanwaner(上官婉儿), which was introduced with traditional Yue opera(越劇) elements. Looking at these four aspects of game character formation related to Chinese plays, it can be seen that the original symbols and themes of the play characters are maintained as much as possible and the traditional play characteristics are never missed. Now that games have become a major play culture of the new generation, traditional Chinese plays are standing in front of the audience in a lively form of play, breaking away from the history of scripture and art. This shows confidence in traditional Chinese culture and at the same time gives a glimpse of the possibility of various methods and paths of traditional culture succession. Based on the review of this paper, its achievements and meanings were summarized in the following several ways. First, it was confirmed that traditional culture can give special vitality and competitiveness to games, which are modern plays. Second, it was found that online games equipped with traditions are a good platform for promoting history and traditional culture and a new channel for the spread of traditional culture. Finally, while seeking a sense of balance between art and the market, it is necessary to avoid the conservative view that traditional culture hesitates to compromise with the market of modern society. As mentioned above, it was confirmed that the convergence development of traditional culture and Internet games is a new method and opportunity for symbiosis and prosperity.

Politics of memory and place-making in local opera

This case study on the Kymi River Opera in south-eastern Finland, at the former border between Sweden and Russia, explores the potential of local operas to re-create a sense of place identity in a contemporary society in which people often seek to reconstruct identity through place memory. By engaging with Christopher Small’s (1998) idea of “musicking” and drawing from studies on place identity and place memory, the study focuses on how a local opera can strive towards new identity constructions through revitalising the forgotten local, historical past. Based on a purposive sample, the primary data set consists of semi-structured interviews and direct observation of the participants of the Kymi River Opera. Three thematic areas on the meanings of the opera, as conveyed by the participants, were identified in the abductive qualitative analysis: 1) Construction of a new place memory; 2) Equal possibility for participation; and 3) Integration of cultural politics and educational goals. The findings show the political nature of local opera in describing how the Kymi River Opera has become an arena for the politics of memory and place-making after a municipal merger in the 1990s resulted in a sense of loss of local identity.

Cultural exploration of Shanxi local opera costumes and Malaysian Chinese opera costumes

This paper uses diversified qualitative research methods such as literature, case studies, and comparative research to focus on Shanxi local and Malaysian Chinese opera costumes. The article found that the development of Shanxi local opera and Malaysian Chinese opera costumes is the result of cultural identity and inheritance. The changes in opera costumes are a new visual form formed after transcendence, integration, and identification. This paper can also boost the exchange of costumes between Shanxi local and Malaysian Chinese opera and further enrich the current global cultural civilization.

The Application of Totem Culture Elements in the Design of Jin Opera Cultural and Creative Products

Jin opera is one of the well-known local operas in China, commonly known as Shanxi opera. It is also known as Zhongluo opera because it originated in central Shanxi. Jin opera has a long history of culture, and its costumes and patterns are unique visual elements of totem culture. It is to promote the culture of Jin opera and to integrate and develop the culture of Jin opera into public life. Based on the four principles of practicality, emotionality, formal beauty, and artistry of Jin opera, cultural and creative products were proposed by Jin opera scholar Ren Nanan as the design concept to analyze and reorganize the colors and patterns of Jin opera costumes. By analyzing and applying the design principles and concepts of Jin opera costume culture, we analyze the design and feasibility of cultural and creative products of Jin opera culture from three aspects: color, pattern, and program rules, and provide ideas and concepts for the design of cultural and creative products of Jin opera culture, so that its culture can be accepted and loved by young people. Jin opera is one of the most precious traditional arts in China. With the emphasis on cultural inheritance, the role of cultural and creative design is receiving increasing attention, and the artistic and creative design incorporating visual elements of Jin Opera will become increasingly sophisticated.

The Digital Classicism of the Cantonese Opera Film White Snake

This article examines the 2019 Cantonese opera film White Snake as an important case of an evolving “digital classicism,” making use of audience-based digitally produced and transmitted Chinese-language materials, among other sources. The article contextualizes the Cantonese opera film as continuing the tradition of experimenting with the White Snake theme, using the genres of local opera and opera film, and special and visual effects enabled by the newest technology. It then moves to a close reading of a series of danmu, anonymous live comments on the Cantonese opera film trailer posted on Bilibili, as important entry points for the study of audience participation in digital times. The digitally produced “ink painting–style Chinese aesthetics” of the film, its digital breakthrough as a “musical with Chinese characteristics,” as well as various forms of fan and anti-fan digital labor triggered by the film, provide further evidence on the importance of “the digital” as “processes of sense making.” The article concludes with thoughts on what difference “the digital” might be able to make in this long history of representing what has become a “classical” Chinese legend.

The evolution of the method of ‘oral and heart-to-heart teaching’ in contemporary times: Based on the observation of Shandong opera classroom

As the main way of inheriting traditional Chinese art, oral and heart-to-heart teaching (OAHTHT) has survived in all kinds of art inheritance activities. However, the existing literature fails to provide a clear explanation of the applicability and evolution of OAHTHT in contemporary school music classrooms. This article reports on a project of ‘local opera in the classroom’ carried out in primary and secondary schools in six regions of Shandong Province from 2017 to 2020. It attempts to research the presentation and evolution of OAHTHT in contemporary music classrooms through classroom observation and semi-structured interviews with teachers and artists participating in the project. Findings show that the change in OAHTHT is not only reflected in the differences of material media, teaching space and spiritual space, but also in the relationship between ‘oral instruction’ and ‘heart to heart teaching’(Xin Chuan): from the past gradual relationship from skill to mind to parallel relationship of mutual subjects. Meanwhile, under the new OAHTHT inheritance mode, a new form of campus opera performance with children as the principal part is taking shape.

On the Musical Characteristics of the Local Opera Liushan Bangzi

Liushan Bangzi, also referred to as Kaoshan Bangzi, is a traditional local opera that originated in the Linyi, China more than 200 years ago. Based on Shanshan Bangzi, it mixes elements of Linyi's dialect, folk music, and traditions to create a distinctive brand of opera music. With the goal of bringing Liushan Bangzi to the attention of other researchers and providing research references, we examine Liushan Bangzi from three angles in this paper, using field research and our practice of singing it. These three aspects are the opera's history, its musical elements, and its accompanists.

Research on the Intangible Cultural Heritage: Musical Culture of Hebei Local Opera "Dizi Diao"

Research on the Intangible Cultural Heritage: Musical Culture of Hebei Local Opera "Dizi Diao"

Research on the Intangible Cultural Heritage: Musical Culture of Hebei Local Opera "Dizi Diao"

Research on the Intangible Cultural Heritage: Musical Culture of Hebei Local Opera "Dizi Diao"

Rasprostranenie sychuan'skoj mestnoj opery evropejskogo tipa na territorii Kitaya v nachale XXI v.

The article examines the development of the Sichuan local opera of the European type in China at the beginning of the 21st century. It was found that it was widespread in such Sichuan cities as Chengdu, Nanchong, Zigong, as well as outside the province. General brief information about these cities is provided. The operas “God of Salt”, “Coming of Spring with Wind and Rain”, “A Man Who Catches His Dream”, “Chen Shou writes a book about three countries” and others became very famous.

Chinese Aesthetic Features of Traditional Costumes in Gan Opera

As one of the traditional local operas in China, Gan opera has a unique cultural connotation and aesthetic style, and its costumes are even more distinctive. The costumes of Gan opera are beautifully styled and colourful, reflecting the traditional aesthetics of ancient China. In the costumes, attention is paid to the expression of different characters' identities and personalities, for example, the costumes of characters such as emperors, officials and people are all different. At the same time, Gan opera costumes also pay attention to colour matching, focusing on shades and clearness, and emphasising the use of colour to express the characteristics and characters of different characters. The ornamentation of Gan opera costumes is also very rich, often embellished with patterns of flowers and birds, dragons and phoenixes, and clouds, which are deeply symbolic and meaningful. Gan opera costumes are also very elaborate in terms of detailing, such as embroidery, trimming and cutting, all of which have unique techniques and characteristics. In short, Gan opera costumes are an important part of traditional Chinese culture, embodying the essence of traditional Chinese aesthetics and having high artistic value and cultural significance. The aim of this article is to explore the Chinese aesthetic characteristics of traditional costumes of Gan opera, with a view to providing reference value for relevant researchers.

A Study of Yuediao Folk Music Knowledge Development in Zhoukou, Henan Province, China

The qualitative method was used in this study of Yuediao opera knowledge development in Zhoukou, Henan Province, China. Based on the collected data, an interview form and questionnaire were used as research tools, and three key informants were selected. The study results are as follows: Yuediao opera is a unique local opera gradually formed by Henan dialect and local folk music. Yuediao opera has gone through the changes of the Qing Dynasty, the Republic of China, and the New China. It has a history of more than 300 years. Yuediao opera has gone from being a less famous local opera to becoming one of the most famous operas in Henan Province. Yuediao has performed for Chinese leaders in Beijing six times, and even some performing artists, plays, and vocals have become popular throughout the country. After the transformation of the Republic of China, "Shanglu diao" took the opportunity to revive and become the representative of Yuediao and has undergone great changes in the music system, performance style, aesthetic character, and other aspects through the evolution of "formal costume opera" to "informal costume opera" and then the reform of Chinese opera.