「The local opera」 screenplay Research and compare

• Main Authors: Ying-Chih Chen, 陳盈志
• Other Authors: 林茂賢
• Format: Others
• Language: zh-TW
• Published: 2013
• Online Access: http://ndltd.ncl.edu.tw/handle/9dp2s2

碩士 === 國立中興大學 === 台灣文學與跨國文化研究所 === 101 === Bendi Gezai (Ilan opera)， the predecessor of Gezaixi (Taiwanese opera)， is the only theatrical form genuinely native to the shores of Taiwan. Although Bendi Gezai is now gradually disappearing， the trace of it remains a vivid memory in the folk art history of Taiwan. Back in the day， when pioneers of Taiwan struggled to settle down by clearing land for farms， Bendi Gezai was the only recreation that could give them comfort during their leisure time. As time goes by， a great variety of entertainments emerges for modern people， while Bendi Gezai gradually loses its glow and enters its sunset years. Several attempts trying to revive the oldest form of Taiwanese folk opera were made， yet the days of it was numbered under the rapidly changing social environment. This study emphasizes on the four major plays of Bendi Gezai， including “Chen San and Wu Niang，” “Liang Sanbo and Zhu Yingtai，” “Lu Mengzheng，” and “She Xi Ji，” and analyzes the scripts of the four plays in depth. The thesis is divided into five chapters. In Chapter One， the rationale， motivation， and scope of the study are presented. In Chapter Two， the social environment and historic background of Bendi Gezai is analyzed for probing into its origin and the reason behind its emergence. In Chapter Three， the main idea of the thesis is unrolled. The structure， form， and style of the four major plays are discussed through script analysis， while the characters’ personalities are also touched. Moreover， how different theatrical forms present similar storyline in their own respective styles， and in what way the stories unfold are tackled. Chapter Four focuses on script analysis. Family ethic is always the theme in local Taiwanese opera， in which authority (paternity) is challenged， while overthrowing the feudal system is yearned for. Traditional ideas of marriage like “to marry with one’s match” or “a marriage with parents’ approval and arranged by a matchmaker” are strongly repelled， while “free choice of love” is highly praised and encouraged. Since what was promoted in the plays coincided with what was desired by young people back at that time， the plays were widely favored by the society. Chapter Five sums up the entire study and the researcher’s self-expectation and point of view are provided. In the appendix， transcription of an interview with Mr. Chen Maoyi， the oldest son of the artist， Mr. Chen Wongcong， is provided. In the interview， Mr. Chen Mao Yi shared his memory of his father， the winner of the National Folk Art Heritage Award， and the rise and decline of Zhuang San Xin Liang-le Opera Troupe， which reflects the ebb and flow of Bendi Gezai. The scope of the present study is limited to the four pillar plays， while literature and papers presented in seminars held in both Taiwan and mainland China are collected. The purpose of the study is to explore further into the history of the only homegrown folk opera in the hope to preserve， promote， and pass down the cultural heritage. Concerted efforts of the public’s wisdom， the government， and the academia are needed to preserve and promote literature and cultural productions that were once created on this island.