完整後設資料紀錄
| DC 欄位 | 值 | 語言 |
|---|---|---|
| dc.contributor.author | 黃敬欽 | |
| dc.date.accessioned | 2020-08-25T06:52:07Z | - |
| dc.date.available | 2020-08-25T06:52:07Z | - |
| dc.date.issued | 2012/09/19 | |
| dc.identifier.issn | 1682-587N | |
| dc.identifier.uri | http://dspace.fcu.edu.tw/handle/2376/2368 | - |
| dc.description.abstract | <None> | |
| dc.description.sponsorship | 逢甲大學 | |
| dc.format.extent | 21 | |
| dc.language.iso | 中文 | |
| dc.relation.ispartofseries | 逢甲人文社會學報 | |
| dc.relation.isversionof | 第三期 | |
| dc.title | 談徐渭《四聲猿》的四種變相 | |
| dc.title.alternative | Analysis on the face-paint designs of Chinese Classical Opera | |
| dc.type | 期刊篇目 | |
| dc.description.translationabstract | In the Chinese Classical Opera, the creation of character has its influential importance; it structures the main interest of most Chinese Operas and also plays a significant role of leading its audiences to understand the play. In the Chinese Opera, there are lots of typical characters and each of them may significantly symbolize a typical characteristic or spirit. The face make-up and costume design therefore play_x000D_ essential part of helping creating those symbolized characteristics. The especial_x000D_ designs of various make-ups on the face (face-paints) present more than a stage effect;_x000D_ they give meanings to each character and function as a symbolic interpretation._x000D_ In this essay, I choose the designs of face –paint as my subject of discussion. My_x000D_ intention is to arrange a significant history of the face-paint designs in the Chinese_x000D_ Classical Operas. I attempt to analysis the various designs on characters’ painted faces,_x000D_ referring to some other local operas, and to see if there is any logical principle or_x000D_ model to trace the development of face-paint designs in the Chinese classical Opera. In order to make a difference from other essays about the Chinese Opera face designs, I place my interest in seeing the face-paint design as an individual art rather than seeing its functions in a theatrical structure. Therefore, I start my article with detail illustrations of various patterns of face designs and introduce my readers to carefully_x000D_ observe how the pattern changes and what they signify. I intentionally divide the face_x000D_ into details, the head front, brows, nose, eyes, cheeks, mouth, head top, to see how those pattern designs around each part of face differ from but interestingly correspond to each other; they delicately suggest some motifs. This is, what I call it, the secret of symbolic beauty. Besides comparing with many references of various local operas, I also consult other references like some aboriginal face paints and mask designs in_x000D_ order to provide a complete reading of Chinese Classical Opera face designs. I not only try to indicate another possibility of reading Chinese Opera but also hope to establish a logical principle to understand the secret symbolic beauty of face designs. | |
| 分類: | 第03期 | |
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