중국 화극의 중국성(中國性)과 중국적인 화극

Abstract

Chen Kunfeng asserted that only the current Chinese spoken plays which unrealistic and expressive presentations are generalized can be called Chinese style spoken plays. On the contrary, Dong Jian asserted that the Chinese spoken plays which sublimate Chinese people's life in art can all be assumed as Chinese style spoken plays. Hu Xingliang argued that Chinese style spoken play must be sought through interactive transformation between Chinese style and foreign one. Chen Kunfeng's assertion investing tradition with privilege might run a risk of serving closed nationalism and even dictatorial powers. However, Dong Jian's assertion dismissing significance of tradition was also far from vertical cultural reciprocity which tradition and the present are equally compromised. Hu Xingliang relatively balances effectively between tradition and the present but he was not careful enough about the rhetoric "nation". Historically, realistic expression and socially participating contents have always been the features of Chinese spoken plays. Although the way of expression has changed now, the spirit of realism in the contents still remains. Giving an equal look between contents and format, tradition and the present will provide an alternative perspective on seeking the real Chinese or Korean style plays.