（真抱歉，來不及啦～～）
中研院民族所週一演講
講題／First as Farce, Then as Tragedy:
Popular Allegory and National Analogy in Contemporary Taiwanese Opera
講者／司黛蕊(Teri Silvio)女士（ 中央研究院民族學研究所 助研究員）
時間／94年12月26日（週一)下午2:30~4:30
地點／民族所新大樓 三樓會議室(2319室)
This paper compares two performances of koa-a-hi (歌仔戲)
operas based on the same folk history tale. The first, Kam Kokpo
Koe Taioan (甘國寶過台灣), was performed at a temple festival in
Taipei in 1994. It was performed in the opeila style, a bricolage
of traditional Chinese and global popular culture genres, created
by and for working class people, mostly people involved in small-
scale, family-based businesses. The second opera, Citong Huakai
(刺桐花開), was performed at the National Theater in 2000. Citong
Huakai was a “refined” koa-a-hi opera, written and produced with
an intellectual audience in mind, and explicitly attempting to
reconstruct and promote “Taiwanese culture.”
I argue that the relationship which Kam Kokpo Koe Taioan constructs
between the historicity of the stageworld and the present of the
performance is allegorical, while Citong Huakai constructs a
relationship between past and present that is analogical. In Kam
Kokpo, the combination of the Qing Taiwan setting with the opeila
style challenges the moral economy of both nationalism and neo-
liberalism by investing contemporary social stereotypes with the
emblematic aura of traditional paragons of virtue and vice. I
argue that there is a contradiction between the historicism of
Citong Huakai’s content and the historicism of its form. Despite
the opera’s explicit purpose of constructing a unique Taiwanese
identity by purifying and modernizing a representative “folk art,”
the structure of its analogy between past and present replicates
a distinctly American model of ethnicity.
http://www.ioe.sinica.edu.tw/chinese/event/index.htm
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※ 編輯: Mississippi 來自: 140.109.129.125 (12/26 09:51)