중국 전통극에서 ‘부인’을 다루는 내러티브들

Abstract

This thesis has it’s focus on the exception of plots in narrating styles of Traditional Chinese plays. Traditional Chinese plays only carry the foundation of narratives which are Fabula and Tomashevsky which Mieke Bal announced and Suzet, which Boris once mentioned. This means that there are no new story compositions in Traditional Chinese plays. They use a method where you tell a story about little pieces that are ripped out of a main big story. According to Sheldon Hsiao-peng Lu, Chinese narratives turned out this way because it was shaped by novels that had fantastic elements that come from historical reproductions. Since then. Traditional Chinese plays brought the factors from those novels and it took a ‘Historical reproduction - Novel - Play’ type of repeated form. In this writing, one will discuss about this particular phenomenon and trace it into three stories which wives appear First of all, it’s the ‘Throw Away Your Wife’ form. This form is mainly shown on the play ‘caibaijie –zhaowuniang’ which the main protagonist who throws away his wife, Caibaijle, first dies of a lightning strike but when he comes to the green bamboo, he gets forgiven. Because the husband was forgiven, green bamboo plays go through a spreading direction where scenes show wives plea for their unfair situations. Second would be the ‘Harassing Your Wife’ form. This form happens when a husband was far from his wife for a long time and when the husband comes back home, he does not recognize his wife, and begins harassing the wife. This form is shown on Tang dynasty bainwen ‘Qiuhu’, and in Qing Dynasty, this form expands into ‘Girl Harassing’ type of form which escalated what male audiences could make an attraction of. Third form is the ‘Begging on Wife’ form. The example for this from contains a story where a barbarian princess, a woman in a male attire. and a snake-like formed women scolds males. In the story, by breaking the image of the traditional women, the females stimulate the fantasy of men and men begin to lock women up for their punishments. These types of story forms are made to give pleasures of what the Traditional Chinese play audiences want. Especially, the green bamboo, aims a male-only audience where a new type of story is made. The important thing is that Traditional Chinese plays accomplished a new composition by separating small stories that come from a bigger story for the audience’s demand, only by the basics of Fabula-Suzet. Also, as these small stories expanded, Traditional Chinese plays took their own unique form of n