淸代 光緖 年間 宮廷演劇의 새로운 공연 면모 연구
Study on New Aspects of Court Theater from Guangxu Emperor Period in Qing Dynasty
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The prime of the Court Theater from the Qing Dynasty is often said to be the Qianlong Emperor Period. Thanks to strong social stability and economic development during the era, theaters of unprecedented size and splendor as well as talented and skilled actors could be secured. Yet, the Court Theater continued to improve despite relatively inadequate environment compared to the Qianlong Emperor Period. In particular, the periods of Xianfeng Emperor with Empress Dowager Cixi, Tongzhi Emperor and Guangxu Emperor witnessed the new aspects of the Court Theater. In this period, Court Theaters introduced a collaborative model of performance in which actors and performance groups of the outside ordinary world along with Sheng_ping office, a representative court performance group and Pu-tian-tong-qing troupe, a new court performance group, worked and featured together. In addition, there was the Empress Dowager Cixi, an avid aficionado for theaters and passionate supporter who sponsored performances and actors of the Court Theater. However, the Court Theaters of this period have often been underestimated as the result of personal pet project or as somewhat insignificant because the Sheng-ping office was scaled down. This study aims to prove that the Court Theaters from Guangxu Period, often considered as the second prime of the theaters of the Qing Dynasty, were not second rate but were experiencing yet another golden era. The study first focused on the fact that the period allowed diverse works and successful collaboration among actors and performance groups of the outside ordinary world, Sheng-ping office and Pu-tian-tong-qing troupe, thereby upgrading the skill levels of the actors to the fullest. The study also focused on finding various aspects of performance groups, performance works, circumstances under which those performances are conducted and performance stages through analyzing literature and references in Sheng-ping office.
Abstract
The prime of the Court Theater from the Qing Dynasty is often said to be the Qianlong Emperor Period. Thanks to strong social stability and economic development during the era, theaters of unprecedented size and splendor as well as talented and skilled actors could be secured. Yet, the Court Theater continued to improve despite relatively inadequate environment compared to the Qianlong Emperor Period. In particular, the periods of Xianfeng Emperor with Empress Dowager Cixi, Tongzhi Emperor and Guangxu Emperor witnessed the new aspects of the Court Theater. In this period, Court Theaters introduced a collaborative model of performance in which actors and performance groups of the outside ordinary world along with Sheng_ping office, a representative court performance group and Pu-tian-tong-qing troupe, a new court performance group, worked and featured together. In addition, there was the Empress Dowager Cixi, an avid aficionado for theaters and passionate supporter who sponsored performances and actors of the Court Theater. However, the Court Theaters of this period have often been underestimated as the result of personal pet project or as somewhat insignificant because the Sheng-ping office was scaled down. This study aims to prove that the Court Theaters from Guangxu Period, often considered as the second prime of the theaters of the Qing Dynasty, were not second rate but were experiencing yet another golden era. The study first focused on the fact that the period allowed diverse works and successful collaboration among actors and performance groups of the outside ordinary world, Sheng-ping office and Pu-tian-tong-qing troupe, thereby upgrading the skill levels of the actors to the fullest. The study also focused on finding various aspects of performance groups, performance works, circumstances under which those performances are conducted and performance stages through analyzing literature and references in Sheng-ping office.
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