A Study on Shih Hui-Chun and Her Perfoming Art in Zhuge Liang Infuriates Zhou Yu Three Times and Flower from the Other Shore

• Main Authors: LIU, CHIA-HUI, 劉家惠
• Other Authors: CHANG, CHING-JUNG
• Format: Others
• Language: zh-TW
• Published: 2019
• Online Access: http://ndltd.ncl.edu.tw/handle/swh84n

碩士 === 國立臺南大學 === 國語文學系中國文學碩士在職專班 === 107 === In this era of pervasive pop culture, Taiwan’s colorful tradition of folk opera faces a slow fade from the tableau of Taiwanese representational space. Bucking this trend has been an unheralded group of steadfast supporters dedicated to the resurgence of this unique performing-art. Counted amongst this band of devotees is the renown operatic performer, Hui-chun Shih. In operatic performances, both on television and the modern stage, Shih has never failed to win the hearts of viewers in the role of lively ingénue. Through the years, as her art has matured, she has focused her considerable talent on the challenge of bringing an ever expanding array of vivacious female characters to life. In televised opera her defining performance has been that of the young and cute hua dan lead, Sun Shang-xiang; and, in modern theater it has been her portrayal of wistful elegance as the xiao dan lead in Flower from the Other Shore (Bi An Hua). From these very different roles performed in venues of differing media, it is clear that Shih’s talent exceeds the limits of the role of pretty ingénue and comprises a far broader repertoire spanning the vulnerable naiveté of a charming young maiden to the evocative grace of a sublime beauty. Shih’s years of experience and variety of performances have honed her craft, giving her extraordinary, and well-received, stage presence. As a member of the teaching faculty in the Department of Taiwanese Folk Opera at the National Taiwan College of Performing Arts, Shih has devoted considerable time to advising student groups as well as research projects in the performing-arts. These activities have been amongst the many ways she has striven to spread the seeds of folk opera across the land. To this end, she has also tried her hand, with unquestioned success, at composition and directing as part of her efforts to pass along to future generations the tradition and beauty of folk opera. Shih’s lifetime aspiration has been the proliferation of the art form and its cultural legacy. Though a devotee to tradition, she has never allowed herself to be bound by it, daring to innovate so that ever greater numbers of the public might come to better understand and appreciate the aesthetics of this distinctive performing art. The life and experience of Hui-chun Shih provides perspective on contemporary folk opera as well as insight into how the invaluable legacy of this distinctive Taiwanese cultural tradition will be ensured.