Characterizations of palace lantern tassels preserved in The Palace Museum,Beijing, by UPLC-ESI-Q-TOF

Palace lanterns were important and highly visible decorations in the imperial palace in Beijing, China, during the Qing dynasty (1636–1912). Most lanterns had colourful tassels made of fibres. The study performed a comprehensive investigation of the materials and dyes used for palace lantern tassels preserved in The Palace Museum, Beijing. Eight samples with different colours, including yellow, green and red, from five palace lanterns were analysed. By using ultra-performance liquid chromatography combined with time-of-flight mass spectrometry, the compositions of the dyes were identified quickly, and thus the dyes' origins were explored. A X-ray fluorescence spectrometer assisted in the detection of whether a mordant was used during the dyeing process. As a result, the tassels were all made of silk, discovered through the use of microscopic observation and micro-Fourier transform infrared spectrometry analysis. Different dyeing techniques were found in these tassels: yellow tassels were dyed by cork tree or turmeric by a direct dyeing method; greens were dyed by pagoda bud with an iron mordant, or by the combination of cork tree and indigo using multi-dyeing method; and red tassels were coloured with different acid red industrial dyes. These results provide valuable data for the conservation of ancient textile tassels and contribute to the investigation of other hanging tags.     

梅兰芳与戏剧文化

梅兰芳成功地进行了一系列京剧艺术的改革,为整个戏剧文化的改革发展提供了榜样,对今天戏剧文化的发展具有重要的提示意义。     

Onstage Rumor,Offstage Voices： The Politics of the Present in the Contemporary Opera of Li Yu

Much scholarly work on the literary culture of the early Qing dynasty has focused on notions of memory, trauma, and nostalgia. In contrast, this essay investigates the ＂contemporary operas＂ （shishi xiqu） of the seventeenth-century Suzhou playwright Li Yu to argue for the importance of the notion of＂the present day.＂ How is this notion of the present day given dramatic form in Li Yu＇s operas and what implications does this interest in the contemporary have for the broader cultural scene of the early Qing dynasty？ This paper will answer these questions by investigating one dramatic technique favored by Li Yu： the inclusion of snippets of rumor and ＂news＂ reports into the play. By including such contemporary media reports, Li Yu not only generates a constantly evolving sense of the present, he also projects this sense of immediacy beyond the fiction of the stage into the ＂reality＂ of the audience, creating a form of opera eminently suited for both reflecting and producing local Suzhou activism, as evidenced in Li Yu＇s most famous work, Qing zhong pu （Registers of the pure and loyal）, a work chronicling the popular Suzhou protests of the mid-1620s and Wanli yuan （Reunion over ten thousand miles）, which stages the dissolution and reintegration of family and empire right after the fall of the Ming.     

《扬州画舫录》中的戏曲文化试探

《扬州画舫录》所记载的戏曲化珍贵资料,至今对研究中国戏曲史仍极富参考意义。     

对1970年以来山西运城蒲剧发展的思考

山西运城有悠久丰厚的戏曲艺术传统,又是蒲剧最重要的发源地,1970年运城专署的设立,使得蒲剧在运城的发展体现了丰富的区域性和独特性。国营蒲剧团体发展体制的梳理,蒲剧演出评价机制的回归,蒲剧之所以为蒲剧的特色彰显,电子时代传统演出方式的坚守等等对于运城蒲剧的健康发展具有至关重要的意义。     

论姚华戏曲理论中的“俗”与“真”

姚华通过大力弘扬戏曲的＂俗＂性所带来的社会教化作用,来放大戏曲的社会价值,从而提升戏曲的社会地位。其戏曲理论中的＂真＂,主要包括＂真情＂与＂真事＂两个层面,所谓＂真情＂,是指戏曲要抒发真情实感,而＂真事＂则涵盖了相应的两层含义：一是戏曲中自然景物描摹的逼真;二是戏曲所叙之事的历史真实性。     

文化消费者对秦腔展演空间的感知与地方认同——以“易俗社”与“陕西省戏曲研究院”为例

戏曲地理在文化展演空间感知与认同方面的积极探索,对深入拓展文化地理学的空间文化隐喻与再现等研究内容具有重要意义。基于微观尺度探讨了文化消费者对秦腔剧院的感知与认同差异,显示出秦腔展演空间对传递与隐喻地域文化特性、功能和意义有着重要影响。文化消费者在获得秦腔蕴含陕西地域文化记忆的同时,对秦腔地域文化内涵的审美性及其传递的文化价值功能性特征给予显著认同,体现出秦腔的社会群体教育功能价值的重要性;不同消费者对空间主体的价值取向存在差异,“我者”对有共同爱好和价值追求的“他者”产生亲切感、对群体则产生归属感,基于展演空间,秦腔文化生产者、经营者和消费者构建了一个地域文化共同体。     

从文本到实践:民间小戏研究的范式转换及其演进路径

民间小戏是中国戏曲的构成部分之一,也是中国民间文艺的重要组成部分。民间小戏研究长期滞后于传统大戏研究。在以民间文学为研究对象的民间文艺学领域,神话、故事、史诗研究巍巍壮观,民间小戏研究有待进一步加强。民间小戏研究自民国以来经历了从文本层面的小戏转变为语境层面的小戏和生活实践层面的小戏的认知过程,形成了文本作品研究范式、文化语境研究范式和艺人实践研究范式。民间小戏研究范式的转换与演进受到社会文化思潮、学科建设发展、代表性学术论著和研究方法应用等因素的影响。乡村振兴战略的实施为民间小戏振兴及民间小戏研究提供了机遇,在乡村振兴的文化实践中,民间小戏的艺人实践研究范式仍然是民间小戏研究的未来趋向。     

交通环境、社会风气与山东地方戏的流布及地区差异

本文从历史地理的角度对山东地方戏进行了简单分析。总体来说,山东地方戏在空间分布上西部多于东部。同时,两地在戏剧的内容表现与艺术风格上亦有很大的不同,西部相对以武戏为主,风格粗犷,而东部则以表现日常生活的小戏为主,风格细腻柔和。之所以如此,主要是由于两地不同的交通地理环境与社会风气所造成的。     

中国古代戏曲音乐的历史流变

戏曲音乐的主体是声腔艺术,而戏曲声腔艺术,则萌芽于金、元时期的北曲与南戏。北曲的形成与发展,确立并开创了我国初具规模的戏曲音乐。曲牌联套体制的组织结构较为严密完整,调性色彩对比较为鲜明,形成了北曲在戏剧音乐发展史上的特殊地位。南戏的音乐成熟虽较之北曲晚,但它繁衍迅速,吸取民间创作的传统特点,特别是采用了北曲的套曲,形成了“南北合套”,同时也解决了复杂的音乐技术问题,成为戏曲声腔艺术繁荣、发展的基础。