Earticle

경극은 중국 전통연극의 대표적 장르로서 20세기 초 매란방의 미국과 유럽 순회공연을 통해 서양에 알려지게 되면서 연극성과 미학적 측면에서 당대 경극을 처음 접하였던 서양연극 대가들의 찬사를 받았다. 경극의 표현방식은 여러 예술가에게 영감을 제공하였고 특히 브레히트의 서사극과 생소화 이론에 큰 영향을 미쳤다. 그러나 그들이 보았던 것은 종합예술이자 총체 연극으로서 광범위한 영역을 담고 있는 경극에서 일부분에 해당하기에 우리는 선대 연극인들의 인식이 투영된 경극을 그대로 받아들이기보다는 그것을 각자의 시각으로 새롭게 바라보는 것이 필요하다. 연구자는 그들이 경극을 통해 새로운 연극성에 눈을 뜨고 영감을 얻었던 것과 마찬가지로 오늘날도 그것이 연극예술의 다양한 표현개념을 인식하고 관점을 확대해 나아가는 것에 바람직한 하나의 연구 방향이 될 수 있다고 믿는다. 본문에서는 경극의 공간적 특성과 연기의 유기적 관계를 통해 나타나는 표현양식에 대해 고찰·분석한다. 경극에는 무형적 환경을 극적 공간으로 탈바꿈하는 행위 속에서 독창적인 표현개념이 나타나는 것을 확인할 수 있는데 그것은 특유의 공간 미학이자 동작의 미학이다. 본문은 경극의 전통적 무대의 형성과 변화, 상징적이고 규범적인 표현양상, 현대에 이르러 프로시니엄 무대에서 나타나는 특성을 분석하였으며 그로 크게 세 가지 사실을 확인할 수 있었다. 첫째로 경극은 전통적 공간에서 신무대로 옮겨가는 가운데 사실주의의 동경으로 인한 진통을 겪기도 했으나 중국의 사의적(寫意的) 심미관으로 인해 경극 특유의 상징과 규범의 양식이 공고하게 지켜진 채 발전해 내려왔다. 둘째로 무형적 공간 위에 극 중 상황을 설정하고 입체화하는 표현은 실질적인 사물로 무대 위를 표현하는 연극에 비해 시공관념의 자유를 선사하고 있다. 마지막으로는 전통 극장 위에서 발전한 비사실적 표현양식이 제4의 벽을 마주한 프로시니엄 무대 위에 펼쳐지면서 배우와 관객은 완전한 몰입과 관찰의 경계적 현상을 경험하는 가운데 극 중 공간이 완성된다. 결론적으로 경극은 표준화된 양식을 통해 무형의 공간을 연극적 환경으로 탈바꿈시키고 확장 시키는 공간의 예술이라 말할 수 있다.

As a representative genre of traditional Chinese theatre, Beijing Opera became known to the West through Mei Lanfang's American and European tours in the early 20th century, and was praised for its theatrical performance and aesthetics by Western theatrical masters who had seen it for the first time. The expression method of Beijing Opera provided inspiration to many artists, and in particular, had a great influence on Brecht's epic theatre and ‘Verfremdung’. However, what they saw is a part of Beijing Opera, which covers a wide range as a composite art and total theatre, so we need to look at it from a new perspective, rather than accepting Beijing Opera that reflects the perceptions of previous theatrical artists as it is. The researcher believes that just as they opened their eyes to new theatricality and received inspiration through Beijing Opera, it can be a desirable research direction for recognizing the various expressive concepts of theatre art and expanding our perspectives today. In this text, we examine and analyze the forms of expression that appear through the organic relationship between the spatial characteristics and acting of Beijing Opera. In that theatre, it can be confirmed that an original concept of expression appears in the act of transforming an intangible environment into a dramatic space, which is the unique aesthetics of space and movement. In this study, the formation and change of the traditional stage of Beijing Opera, symbolic and normative expression patterns, and characteristics appearing in the proscenium stage in the modern era were analyzed. In conclusion, It has been confirmed that Beijing Opera is an art of space that transforms and expands an intangible space into a theatrical environment through a standardized style.

본 연구는 독일 징슈필(Singspiel)과 중국 경극(京劇) 간의 음악 극적인 요소를 비교하는 것 을 목적으로 하며, 특히 모차르트의 <마술피리>와 중국의 <백사전>에 초점을 맞추고 있다. 두 작품은 각기 다른 문화적 배경과 예술 전통 속에서 발전하였으며, 본 연구를 통해 이들의 음악적, 극적 특성을 분석하여 서로의 예술적 차별성을 드러낼 것이다. 연구 방법으로는 문 헌 연구, 분석 연구, 비교 연구를 포함한다. 문헌 연구를 통하여 징슈필과 경극의 개념 및 발 전 역사를 정리하였으며, 분석 연구를 통해 각 작품의 대본과 음악 구조를 분석하여 인물 심 리와 극적 갈등을 조명하였다. 또한, 비교 연구를 통해 두 작품의 음악적 및 시각적 표현을 면밀히 비교하여 각 장르의 주요 특징을 도출하였다. 연구의 결과는 두 장르 간의 유사성과 차별성을 뚜렷하게 보여주며, 각 작품이 전달하고자 하는 메시지와 음악적 형태의 차이를 명확히 하였다. 이 연구는 징슈필과 경극이라는 서로 다른 문화적 전통의 교차점을 통해, 음 악적 미적 가치에 대한 깊이 있는 이해를 제공할 것으로 기대된다.

In the latter part of the 18th century, two distinct forms of opera emerged: Singspiel in Germany and Peking Opera in China. Despite their origins in vastly different cultural contexts, both forms serve as comprehensive artistic expressions primarily through music. German Singspiel drew inspiration from Italian operas while also being shaped by British ballad operas and French opera buffa. Its arias incorporated elements of lied and featured extensive dialogues rather than a traditional narrative structure, evolving into a music drama with unique local characteristics. Conversely, Chinese Peking Opera, rooted in various folk traditions, has been refined into China's "national opera" through the sustained efforts of numerous artists. This genre has established a standardized framework encompassing literature, performance, music, singing, instrumental techniques, and facial makeup, integrating the elements of "singing, reading, acting, and playing." This paper examines two significant works representing these genres—Mozart's The Magic Flute and Tian Han's The Legend of the White Snake—and employs comparative musicology to explore their musical elements across four dimensions: script, music, dialogue, and performance. The study aims to highlight both the similarities and differences in artistic expression between German Singspiel and Chinese Peking Opera, thereby enhancing cultural appreciation of these two diverse forms of musical drama.

첸카이거 감독이 만든 영화 <패왕별희>는 색채의 사용이 두드러진다. 이 영화는 중국의 전통적인 색채 미학을 영화의 서사와 잘 연결한 점을 높이 평가받았다. 영화 <패왕별희> 전체는 마치 경극의 무대처럼 강렬하 고 대조적인 색채를 통해 이야기를 전달한다. 본 연구는 영화 <패왕별희> 의 색의 움직임이 지닌 의미를 서사의 관점에서 분석하고자 한다. 색의 움직임과 영화 서사의 의미를 분석하기 위해 다음과 같은 연구 방법을 사 용하고자 한다. 우선 중국의 오방색과 경극에 사용되는 색의 상징과 의미 를 살펴본다. 이러한 색채가 어떻게 영화 <패왕별희>에 표현되어 의미를 전달하는가를 알아보기 위해 영화의 서사구조를 살펴보고 플롯의 주요 사 건과 색채와의 관계를 분석한다. 이어 영화 서사의 중요한 단락을 선정하 여 프레임 단위의 화면에 대한 분석을 진행하고자 한다. 이를 통해 영화 <패왕별희>의 색채 리듬, 색채 구조에 대한 의미를 탐색하고자 한다. 마 지막으로 색채에 함축된 심리와 감정이 어떤 방식으로 내러티브와 연결되 는지 색채 의미작용 분석을 진행한다. 서사에서 중요한 시작, 갈등, 클라 이막스에서 인물 심리 변화가 비교적 큰 쇼트를 선정하여 인물의 심리가 색채와 어떻게 연결되고 색채의 의미생성 작용이 이루어지는가에 대한 모 형을 제시한다. 첸카이거 감독은 서사와 인물 심리를 표현하기 위해 색채 리듬과 구조 를 매우 세밀하게 연출하였다. 그는 색채를 통해 영화에 강렬한 시각적 효과와 시적인 의미를 부여했다. 영화 전체를 명도와 채도가 낮은 색채 중심으로 표현하여 경극 무대를 영화로 보여주는 것과 같은 효과를 연출 한다. 또한 인물의 성격, 비극적 사건을 색채와 섬세하게 연결해 색채 리 듬을 통해 서사를 전달한다.

The use of color is outstanding in the film <Farewell My Concubine> directed by Chen Kaige. The entire movie <Farewell My Concubine> tells its story through intense and contrasting colors, like a stage in a Peking Opera. This study intends to analyze the meaning of color movement in <Farewell My Concubine> from the perspective of narrative. In order to analyze the movement of color and the meaning of cinematic narrative, the following research method is used. First, we will look at the symbols and meanings of the five colors of Chinese characters and the colors used in the Peking Opera. In order to find out how these colors are expressed in <Farewell My Concubine> and convey their meaning, the narrative structure of the film is examined and the relationship between the main events of the plot and the colors is analyzed. Next, we will select important paragraphs of the film's narrative and proceed with the analysis of the frame-by-frame screen. Through this, it is intended to explore the meaning of the color’s rhythm and structure within the movie. Finally, color semantic analysis will be conducted to determine how psychology and emotions implied in color are connected to the narrative. Chen Kaige created the color rhythm and structure in great detail to express narrative and character psychology. He expresses his entire film with the center of color with low brightness and saturation, creating the effect of depicting the stage of a Peking Opera as a movie. He also delicately connects the characters' personalities and tragic events with color to deliver the narrative through color rhythm. An analysis model about <Farewell My Concubine> was presented for how color conveys a character's emotions and psychology. This analysis model can help the film director to direct the psychological state of the character and the film’s narrative through color structure.

<패왕별희>는 경극 가운데 대표되는 작품으로 초패왕 항우와 그의 연인 우희와의 사랑과 이별 이야기이다. 외국에서 유학하며 희극을 공부한 제여산은 평생 동지였던 매란방을 위해 우희 역에 비중을 두고 기존의 극본을 각색하여 1922년 <패왕별희>를 탄생시켰다. 이후 <패왕별희>는 중국의 역사와 함께 국내와 해외에서 공연되기도 하고 금지당하기도 하는 변화를 겪으면서 오늘날 첸 카이거 감독이 이를 영화화하여 전 세계적으로 호평을 이끌어 내었다. 경극은 창(노래), 염(대사), 작(동작과 기법), 타(무술), 의상, 화장, 소품 등의 여러 요소들이 어우러져 이루는 종합예술적 성격의 연극이다. 경극의 배우들은 일평생 하나의 배역을 맡으며 이 배역에 필요한 노래, 대사, 동작과 무예를 전문적으로 연기한다. 경극 배역은 크게 남자배역의 생, 여자배역의 단, 성격파 배역의 정, 어릿광대 역의 4대 배역이 있는데 초패왕인 항우는 정, 우희는 단의 배역에 해당한다. 경극에 사용되는 의상에는 망(예복), 피(장포), 고(갑옷), 습자(도포), 의(일반 옷)로 나뉜다. <패왕별희>에 나타난 복식을 살펴보면, 남자 주인공인 항우, 유방, 한신은 흑단룡망, 패왕고, 만다린 자켓형의 용마괘, 케이프형인 장식두봉을 착용한다. 우희의상에는 황피, 어린갑, 케이프형의 여봉두봉이 있다. 이들 의상에 나타난 미를 살펴보면, 첫째, 명대와 청대 전통복식이 기본이 된 전통미 위에 의복이 부분적으로 변형되거나 장식되어 나타난다. 둘째, 경극이 상징의 미학을 추구하듯 패왕별희에서도 복식의 색채, 문양, 소재, 소품 등에 중요한 상징적 의미를 내포하고 있다. 셋째, 장식미로 의복의 과장과 꾸밈, 머리장식, 수염, 신발, 소도구들에서 장식적인 요소를 가미시켜 작품을 빛나게 하고 관객들을 즐겁게 함을 알 수 있다.

Farewell My Concubine is a representative Beijing opera that depicts the love and loss between Xiang Yu, the hegemon-king of Western Chu, and his lover Yuji. Qi Rushan, who studied drama overseas, adapted the original script for his life-long companion Mei Lanfang, who was to act Yuji. In 1922, Farewell My Concubine was finally introduced to the world. Since then the opera was staged home and abroad, developing throughout the years despite being banned from public view from time to time. Director Chen Kayigeo's adapted film version has been cherished worldwide. Beijing opera is a comprehensive art that constitutes songs, lines, movements and technique, martial arts, constume, make-up, and stage props. The actors play one role throughout their lives and perform their songs, lines, movements and martial arts at a professional level. The four roles of the opera include the male character, female character, charismatic character, and the clown; Xiang Yu being the charismatic figure and Yuji undertaking the female role. The costumes are categorized into Mang(court robes), Pei(formal wear), Kao(armor), Xue(informal wear), and Yi(ordinary clothes). The male characters Xiang Yu, Liu Bang and Han Xin wear the black round dragon robe, Hegemon-king's Kao, the mandarin jacket embroidered with gold dragons, and the embroidered cape. Yuji's attire includes the yellow pei, fish scale armor, and the femal phoenix cape. The aesthetics displayed in these costumes show that Ming and Qing dynasties' traditional attire have been adorned with additional ornamentation or have been transformed partially. Another characteristic goes in line with the symbolic nature of the Beijing opera. The color, figures, materials and props in Farewell My Concubine imply symbolic meaning. Finally, the design of the exaggerated and ornamented costumes, hair decorations, beard, footwear, and props highlight the beauty of the opera and delight the audience.

2019 is the 120th birth anniversary of Lao She (1899-1966), a famous Chinese contemporary novelist and dramatist. He was one of the most significant figures of 20th-century Chinese literature, and best known for his novel Rickshaw Boy and other works. With a dozen teaching-material samples, this paper aims to review the narrative element in the English translation version of Camel Xiangzi—A Beijing Opera (Chinese script by Zhong Wennong, English rendition by Chen Rong) in terms of “story” and “discourse analysis”, and to expose the technical details behind, with proper attention to literary facts concerned with Lao She’s original novel version and madame Zhong’s own Chinese script version in particular. Based on the assumption that the order in story is fixed even if the discourse presents a different order, the main text focuses on three sections: A. narrative structuring, B. characters as narrators in story-events weaving, C. Beijing opera aria-singing and its counterparts, in order to analyze opera narrative as an independent system--this play, the continuum of events presupposing the total set of all conceivable events revolving around the hero Xiangzi (i.e.how his-storia of the rickshaw-puller becomes history)--with an eye to pay due respect to glocal (local +global) dissemination efforts at homeland audience as well as overseas readership.

Yangbanxi("model plays") symbolize the Cultural Revolution(1966~1976) in China. The Eight Model Revolutionary Works include five Chinese Modern Peking Operas, namely, Taking Tiger Mountain by Strategy(智取威虎山), Harbor City(海港), Shaijabang(沙家浜), The Red Lantern(紅燈記), and Raid on the White Tiger Regiment; (奇襲白虎團), ballets such as The Red Detachment of Women(紅色娘子軍) and The White-Haired Girl(白毛女); and a symphony: Shajiabang(沙家浜). On April 24, 1967, Chinese leaders, including Mao Zedong, saw a performance of The White-Haired Girl. Yanbanxi was performed in Beijing between May 24 and June 15 the same year. The Red Lantern was designated as a work for the proletarian classes by Jiang Qing(Mao Zedong's third wife and the most influential woman in China) and spread nationwide. It was also made into a film to be enjoyed by many people. The modern Chinese operas went a long way in their creation of visual images of revolutionary heroes. The Red Lantern, in particular, came to be regarded as the most representative revolutionary opera. In the course of such a process, Jiang Qing used Yangbanxi as a political tool for compelling the people to worship and pledge their allegiance to Mao in an effort to turn the Cultural Revolution into a class struggle on behalf of her husband. During the Cultural Revolution period, artists were made to associate with workers, farmers and soldiers based on the idea of advocating revolutionary arts for the proletarian classes. The characters in The Rend Lantern were portrayed as heroes from the proletarian classes according to the demands of the era. Chinese leaders set forth the principles of artistic expression, stressing three important factors: politics, heroes, and heroic acts, which were to be applied to all the visual arts, including Yangbanxi. This paper attempts to present a new view of fine arts during the Cultural Revolution in China by focusing on the productive significance of a leading style of a specific era in the past. To that end, this paper sheds light on products made in conformance with political instructions, stressing the importance of revolutionary heroes in The Red Lantern.

경극의 분장은 배역의 성격과 특징을 사실적으로 나타내는 것이 아니라 색과 선의 양식적인 디자인에 의해 상징적으로 타나내며, 다른 무대예술보다 시각적인 주목성과 전달력이 뛰어나다. 예술의 한 장르로서 발전하고 있는 아트 메이크업에 이러한 경극분장의 특징인 색채와 디자인을 접목시켜 동양의 새로운 미를 창조하고 표현하고자 하였다. 작품 제작은 경극 분장의 부분 모티브를 활용하여 디자인하고, 회화적 기법을 사용하여 추상적이고 단순하며, 상징적 의미를 지닌 작품을 제작하였다. 이러한 작품제작을 통하여 경극분장이 캐릭터를 암시하는 단순한 역할을 뛰어 넘어, 민족의 특징적인 디자인으로서의 가치를 부여하고, 새로운 패턴으로 자료를 제공하며, 동양 문화의 대표적인 문양으로서 상품디자인 및 예술작품 등, 다양한 분야에서의 발전가능성을 규명하고자 한다.

Costumes with make-up of Chinese Beijing Opera not just express the characteristics and the features of the characters realistically, but also emblemetize them with stylistic designs of the colors and lines. Therefore, it has more visual attention from audience, and can easily implore them. I try to create the new oriental beauty by combining art make-up which is developing as a genre of art with the color and the design which are the characteristics of costumes with make- up of Chinese Beijing Opera. By producing pieces of works, costumes with make-up of Chinese Beijing Opera are granted values as ethnic design and provide data for new patterns as well as suggest the characters. I also try to identify the possibilities of development of costumes with make up of Chinese Beijing opera as a representative pattern of oriental culture.

The Mongolian opera Uchir-tai Gurvan Tolgoi (means the three hill) is one of the most famous works written by D.Natsagdorj(1906-1937), the founder of Modern literature of Mongolia. The story of original Uchir-tai Gurvan Tolgoi, a four-acts opera finished in 1934 by D.Natsagdorji is not so intricate，the main characters are Yunden (M), Nansalmaa (F), Balgan(M) and Khorolmaa(F). In first act, Yunden and Nansalmaa determined to get married and Yunden went for Khuree to buy goods. Unfortunately, Nansalmaa encountered noble Balgan, and was taken to his home to marry him violently. In second act, Nansalmaa expects Yunden day and night to come and rescue her. Yunden finally arrived and met Nansalmaa, but was beaten by Balgan and get injured. Khorolmaa took Yunden back her home to took care of and asked Yunden to marry her. Yunden didn’t agree. In act three, Nansalmaa escaped out and met Yunden when Balgan compled her to marry him. Khorolmaa colluded with Balgan to hit Yunden and took away Nansalmaa again. On the contrary, Khorolmaa became the “benefactor” who saved Balgan. And in act four, Nansalmaa came to see Yunden by fleeing. Balgan and his companion killed Yunden. Nansanlmaa sacrificed herself in sadness. After the passing away of D.Natsagdorji, Ts.Damdinsuren rewrote the Uchir-tai Gurvan Tolgoi in 1943, and changed the tragedy into comedy. The opera ends with the success of Yunden and Nansalmaa fight against the governors. Along with the development of cultural relation between China and Mongolia, in June 1956 was played Beijing Opera The Three Hill, reform of Uchir-tai Gurvan Tolgoi done by famous playwriter Junhong Fan (1916-1986) in Beijing, China. This is a very good example of acceptance of Chinese people towards D.Natsagdorji and his opera Uchir-tai Gurvan Tolgoi, and it has significant academic value in the study of writer D.Natsagdorji and spread of his works in abroad.

With rapid advancement of generative artificial intelligence technology, the use of AI tools in the field of fashion design is playing an increasingly important role. However, since AI tends to create based on existing data, there are frequent situations in the creative process where active human intervention is required. This study created fashion designs inspired by the Beijing Opera facial makeup based on the HAIC model and explored the potential for collaboration between AI and humans. Researchers meticulously documented the creative process using AI tools such as ChatGPT and Midjourney and conducted an in-depth analysis of issues that arose during the process as well as corresponding solutions. Furthermore, through literature review, this study established a theoretical foundation for AI-human collaboration and systematically presented respective roles and methods of cooperation between AI and humans through design experiments and problem analyses. Findings revealed that AI contributed to the development of creative ideas by providing abundant visual inspiration in early design stages. However, limitations were observed in the final design stages due to a lack of data and the randomness inherent in AI-generated outputs. In conclusion, human judgment, creative interpretation, and meticulous adjustments are essential throughout the entire design process, although while AI can serve as a valuable tool for improving the efficiency of fashion design.

During the first half of the 20th century, traditional Beijing opera art and modern film media were combined to produce the successful Beijing opera film Shengsihen (生死恨), one of the first to insert the traditional into the modern. In this piece, the full-length narrative adds emotion to the time period, the color effect highlights the ethnic characteristics of the show, and the sound allows viewers to experience Beijing opera with sound effects. Film director Fei Mu (費穆) aimed to transfer the distinct ethnic characteristics of Beijing opera to the art of film. For instance, Fei focused on producing a different impression combining realistic expression (寫實) and spiritual expression (寫意) in set scenery and faking movements in action using real props. Problems caused by printing or editing decreased the accuracy of color and the quality of audio. However, compared to past productions, this first full-length film with sound and color marks great artistic and technical improvements. During the anti-Japanese war, Beijing Opera Actor Mei Lanfang (梅蘭芳) expressed the tragedy of the public and sharply adapted the scenario to be suitable for the filmic genre. Mei retained the realistic background and props based on ideological traditions but modernized them with new acting techniques. For example, he eliminated long musical portions, transforming them into a mime act, and used real props, showing Beijing opera acted with dancelike features and weaving machinery. With ethnic features, Shengsihen (1948) combines the aesthetic and traditional generic features of Beijing opera and film into a successful modern piece.

1,000여 종에 달하는 중국의 경극은 중국 예술에서 중요한 지위를 차지하고 있다. 또한 국수(國粹)라는 칭호 속에 중국인들의 사랑과 관심을 받고 있다. 사실 그동안 경극의 가치와 비중에 비하여, 경극에 대한 연구는 다양하지 못하였다. 특히, 경극에서의 치료 역할을 발굴하는 연구가 전무한 상황에서 본고에서는 경극의 치료 요소를 발굴하고 검토하는 것을 주요 목적으로 설정하였다. 구체적인 논의를 위해서 연구대상의 시기를 경극이 중국 사회에 환영을 받았던 청말민초를 중심으로 하였다. 먼저 경극과 치료의 접목을 타진하는 것으로서 연극치료를 중심으로 치료의 변화와 가치를 알아보고, 이를 경극에 접목시켜 생각해 보았다. 다음으로 경극이 인기를 끌었던 청말민초의 상황을 알아보고, 여기에서 경극이 당시 사회에서 가졌던 치료적 요소와 의미를 알아보았다. 그리고 이를 보다 구체적으로 연극치료와 결부시켜 논의를 진전시켰다. 이에 경극이 주는 치료는 일반적 관점에서의 치료, 단순한 오락물로서의 치료, 계몽의 도구로 이용되어 나타난 치료, 열렬한 지지자의 입장에서 받은 치료, 배우의 입장에서 받은 치료 등이 존재함을 확인할 수 있었다. 또한 치료의 측면에서 사회적 기준과 달리 개인적 치료 효과와 영향이 달라질 수 있음도 제기하였다. 본고를 통해 경극은 중국의 문화산업에서 가장 중요한 아이콘임을 확인하고, 후속 연구를 통해 동양 전통 문화의 발전 가능성에 맞추어, 경극이 치료로서 가지는 효과와 가능성을 확장하는 노력이 필요할 것임을 제시하였다.

1000 kinds of Beijing Opera are receiving the love and attention of Chinese people in the title of national core art. However, compared with the value and the weight of the Beijing Opera, the research of Beijing Opera could not be diversified. Especially in the role of therapy. In this paper, it was set as the main purpose to unearth and examine the therapeutic factors in Beijing Opera. For the sake of concrete discussion, we focused on the late Qing Dynasty and early Republic of Chnese when Beijing Opera was welcomed by Chinese society. First, I examined the change and value of treatment focusing on the Drama Therapy treatment of plays, and fused this to the Beiing Opera as a method to combine Beijing opera and therapy. Next, we looked at the situation of the late Qing Dynasty and early Republic of Chnese when Beijing Opera was welcomed by Chinese society, and examined the therapeutic factors and meaning that Beijing Opera had in society at the time. And it was discussed more specifically with Drama therapy. Therefore, it can be confirmed that the Drama therapy effect given by Beijing Opera is the treatment from the general point of view, the treatment as simple entertainment, the treatment which is used as a tool of enlightenment, the treatment received from the position of ardent supporters, and the treatment received by the actor.

본 연구의 목적은 중국 전통 예술의 대표적 브랜드인 중국 경극의 인지도에 대한 영향을 미치는 요인들을 분석하여 향후 중국 경극의 인지도를 높이기 위해서 방안이 일조하는데 있다. 이를 위해 본 연구는 중국 경극을 관람했던 중국 산동성에 거주한 350명의 응답자들을 대상으로 2018년 10월 1일부터 10월 5일까지, 총 5일 간 온라인으로 설문조사를 진행했다. 응답자 (34명 응답자 제거)답을 사용하여 SPSS 25버전으로 회귀분석을 하였다. 중국 경극의 품질, 프로모션, 관람매체는 이미지라는 매개변수를 거쳐서 인지도에 관한 주요 미치는 요인을 검증하기 위해 세 가지 가설을 설정하였다. 연구 결과는 다음과 같다. 첫째, 중국 경극에 대한 품질이 이미지에 대한 긍정적 영향을 미치는 것이다. 둘째, 경극의 품질과 관람매체를 인지도에 유의한 정(+)의 영향을 미친 것으로 나타났다. 셋째, 경극에 관한 요인과 인지도 사이에서 이미지의 매개효과가 있음을 알 수 있다.

The purpose of this study is to analyze the factors that influence the awareness of Beijing Opera, a representative brand of traditional Chinese art, and to enhance the awareness of Beijing Opera in the future. The study surveyed 350 respondents living in Shandong Province, China, who watched Beijing Opera. The study is surveyed by online for a total of five days from Oct. 1 to Oct. 5, 2018. Regression with version 25 of the SPSS was performed using respondents (34 respondents removed). Three hypotheses were established to verify the quality, promotion, viewing media and the parameters, image of Beijing Opera in relation to the awareness. And the results of the study are as follows. First, the quality of Beijing Opera has a positive effect on images. Second, it was found that the quality and viewing media of Beijing Opera had a significant influence on awareness. Third, it can be seen that there is a medial effect of image between the factors concerning Beijing Opera and the awareness.

本文对清代中叶具有代表性的戏曲作家蒋士铨的戏曲评价进行了考察。处于花雅之争时代 的蒋士铨，作为正统文人从事戏曲创作。关于蒋氏的戏曲，有一种评论为其文采裴然，却难 以付诸歌台舞榭，批评其多为案头之作，不适合演出。这是不符合实际的。本文以他的代表 作四弦秋为中心，从其创作动机和作品所见的艺术特征一一考察其评价。

清朝时期, 由于统治阶段自身的需要, 制造关羽的神性, 并通过立庙设祀, 把关羽信仰灌输到市民百姓中去。无论从祭祀的规模和仪式, 关庙创建的范围和数量, 以及信仰和崇拜者的广泛而论, 都表明清朝时期人们对关羽的神化和崇拜已达到空前的程度。通过清皇帝的推波助谰, 所赐封号由侯而帝君而大帝, 祭祀规模由群祀而中祀; 关庙创建的范围由窄而广, 数量由少而多; 关羽成为人神之首, 凡助战斗、治病除灾、佑科举、诛伐叛逆, 无所不能, 具有多方面的神格, 其崇拜和信仰者极为广泛。这些都显示了清朝关羽崇拜已达到历史的最高峰。在其深远影响下, 京剧关公戏呈现出情节动人的剧目和名家演技精彩等态势, 成为清代京剧关公戏的一个极为突出的发展。

“新舞臺”是中国人修建的最早西方式的、最早近代的剧场。这是从清代主要剧场形式中之一“茶园”变成为专门演出戏剧的剧场。修建“新舞臺”的人们要通过“新舞臺”企图上海华界的繁荣，同时在京剧改良运动的影响下通过演出改良京剧，宣传民主與革命。在“新舞臺”进行京剧改良的人们从修建“新舞臺”之前，已经注意戏剧的宣传作用，在戏剧形式上要积极接受西方戏剧的写实因素，在戏剧内容上反映社会改革的内容。在这種企图下，他们以西方剧场为模特兒修建了“新舞臺”。“新舞臺”在京剧改良中，都演出52種改良京剧。主要内容是以宣传革命、揭露社会黑暗为主。由于“新舞臺”这種剧场的登場，除显示戏曲内容的变化外，还显示演出方式的变化，例如; 引进写实性表演、运用布景、改革唱白等等。不过，“新舞臺”人们的京剧改良中，由于急功近利的敷衍塞責，发生了各種矛盾，例如; 寫實性表演與京剧音樂的矛盾、布景與表演的矛盾、由于缩唱增白，变为“话剧加唱”等等。到1916年，随着政治形势的变化，“新舞臺”的京剧改良失去了其民主性的光彩，反映时代现实的作品绝迹，也引不起人们的兴趣。充斥“新舞臺”的作品大都是专以谋利为目的的機关连臺戏、社会言情戏等等，把京剧艺术引向低劣商品的歧途。由于这些原因，“新舞臺”的京剧改良匆匆收场了。“新舞臺”的京剧改良，可视为在中国京剧史上有意识地对传统京剧做大幅度改造的勇敢的尝试，它演出的作品不仅反映當代社会现实的面貌，在艺术方面也具有許多時代所賦予的重要藝術特徵。虽然把写意與写实的矛盾办得不理想，“新舞臺”进行的各種革新有助于京剧现代化。

The Beijing Opera is one of the leading representatives of Chinese culture, which includes literature, music, dance, martial arts, and a type of performance that stems from the Chinese cultural history that is still relevant today. The purpose of this study is to develop fashion-cultural products from the Lian Pu of the Beijing Opera, a Chinese cultural tradition that receives abundant positive feedback from around the world, showing its value in both academic and practical fields. This study was carried out first as a theoretical study of the literature, definition and types of facial make up used in the Opera, as a way of examining the formative aspect. Secondly, an analysis was conducted on the main characters, 'Guan Yu' and 'Zhang Fei' of "The Romance of the Three Kingdoms", 'Li Kiu' and 'Lu Zhishen' of "All Men are Brothers" and 'Monkey King' of "Journey to West", employing the collection belonging to 'Yongqi Zhao' who is an expert on the Chinese Beijing Opera. Thirdly, two concepts were categorized, based on the analytic results of the abovementioned characters, each of which were then further categorized into three sub concepts. In regard to cultural development designs, the results of an analysis on the facial make-up color, form, and texture of the four main characters were utilized to construct the themes, "Modern Chic" and "Traditional Splendor". The simplest form that has been represented in the four figures has been applied to "Modern Chic" to show a modern image in which black, white and light blue has been used alongside the vivid red, which is a Chinese favorite, to highlight the characters. In "Traditional Splendor", which is focused on the stage art of the Opera, we see more artistic traditions and colors, to further appeal to our emotions. Traditional motifs have been applied using traditional Chinese arts, in order to develop strong and brilliant colors. The two styles of cultural products were developed in the form of women's scarves and men's ties; a total of 24 designs were expressed, using Illustrator CS6. In the final step, 4 scarves and 6 ties were produced as a sample, using high quality silk. The development of these cultural fashion products will bring an opportunity to show how Chinese traditional culture can be widely utilized in commercial market design.