Jingju actor and director Wu Hsing-kuo＇s （吴兴国） Lear Is Here （2001） is a 90-minute solo performance adapted from Shakespeare＇s King Lear and performed injingju style. In this performance, he alternately perfor...Jingju actor and director Wu Hsing-kuo＇s （吴兴国） Lear Is Here （2001） is a 90-minute solo performance adapted from Shakespeare＇s King Lear and performed injingju style. In this performance, he alternately performs 10 male and female characters including himself injingju role types ofsheng （male）, dan （female）,jing （painted face）, mo, and chou （clown） in search 0f dual identities. This paper will investigate Wu＇s performance in Lear Is Here from three directions： First, how Wu subtly combines Shakespearean dramatic tension and psychological complex, his versatilejingju performing styles, and Brechtian alienation effect in developing his unique artistic flair？ What are at stake of such an eclectic performance？ Second, in the rooting and re-routing of both Shakespearean plays andjingju acting style where Wu Hsing-kuo meets King Lear, how Wu articulates the meticulous details of both source culture and target culture while at once extracting them out of context to interweave and re-articulate them into an eclectic intercultural theater？ Third, investigating the cultural exchange, bicroleurs, audience reception, and production mode of the work, the author will try to do away with the ＂authenticity＂ or ＂representativeness＂ of either the East or the West, but explore the possibilities of the hybrid theater in search of alternative aesthetic and emerging performance genre展开更多
音乐信息提取(Music Information Retrieval)技术在辅助西方古典声乐训练中已经被证明有效。京剧演唱在多个感知维度上有别于西方古典声乐,并采用口传心授的方式进行教学。首先介绍京剧演唱专业课堂中的教学方法,并展示在教学过程中引...音乐信息提取(Music Information Retrieval)技术在辅助西方古典声乐训练中已经被证明有效。京剧演唱在多个感知维度上有别于西方古典声乐,并采用口传心授的方式进行教学。首先介绍京剧演唱专业课堂中的教学方法,并展示在教学过程中引入音乐信息提取技术的潜在好处。为了揭示能服务于京剧演唱教学的潜在音乐信息提取技术,首先发问:京剧演唱老师和学生对京剧音乐的五个维度—音调、节奏、响度、音质和发音的重要性是如何度量的?通过向这五个维度对课堂练习、老师的言语反馈进行归类和对学生的调查来回答这个问题。然后,借助音乐信号分析来详细观察课堂练习和老师的言语反馈录音,以此揭示教学过程中的细节元素。最终,基于以上分析,提出了潜在对京剧演唱教学有辅助作用的音乐信息提取技术。展开更多
文摘Jingju actor and director Wu Hsing-kuo＇s （吴兴国） Lear Is Here （2001） is a 90-minute solo performance adapted from Shakespeare＇s King Lear and performed injingju style. In this performance, he alternately performs 10 male and female characters including himself injingju role types ofsheng （male）, dan （female）,jing （painted face）, mo, and chou （clown） in search 0f dual identities. This paper will investigate Wu＇s performance in Lear Is Here from three directions： First, how Wu subtly combines Shakespearean dramatic tension and psychological complex, his versatilejingju performing styles, and Brechtian alienation effect in developing his unique artistic flair？ What are at stake of such an eclectic performance？ Second, in the rooting and re-routing of both Shakespearean plays andjingju acting style where Wu Hsing-kuo meets King Lear, how Wu articulates the meticulous details of both source culture and target culture while at once extracting them out of context to interweave and re-articulate them into an eclectic intercultural theater？ Third, investigating the cultural exchange, bicroleurs, audience reception, and production mode of the work, the author will try to do away with the ＂authenticity＂ or ＂representativeness＂ of either the East or the West, but explore the possibilities of the hybrid theater in search of alternative aesthetic and emerging performance genre
基金the European Research Council under the European Union’s Seventh Framework Program,as part of the Comp Music project(ERC grant agreement267583)
文摘音乐信息提取(Music Information Retrieval)技术在辅助西方古典声乐训练中已经被证明有效。京剧演唱在多个感知维度上有别于西方古典声乐,并采用口传心授的方式进行教学。首先介绍京剧演唱专业课堂中的教学方法,并展示在教学过程中引入音乐信息提取技术的潜在好处。为了揭示能服务于京剧演唱教学的潜在音乐信息提取技术,首先发问:京剧演唱老师和学生对京剧音乐的五个维度—音调、节奏、响度、音质和发音的重要性是如何度量的?通过向这五个维度对课堂练习、老师的言语反馈进行归类和对学生的调查来回答这个问题。然后,借助音乐信号分析来详细观察课堂练习和老师的言语反馈录音,以此揭示教学过程中的细节元素。最终,基于以上分析,提出了潜在对京剧演唱教学有辅助作用的音乐信息提取技术。
