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燕行与妓戏:朝鲜后期使行途中的妓戏表演与使行的戏剧化

  • 作者:王元周出版日期:2023年12月
  • 报告页数:26 页
  • 报告字数:23899 字所属丛书:
  • 所属图书:北大史学(第26辑)
  • 浏览人数:0    下载次数:3

文章摘要

清代,朝鲜赴京使臣从汉阳出发,自瑞兴起沿途各站提供房妓,并设妓乐表演,一直延续到义州,所以两西(黄海道和平安道)沿路各邑蓄官妓较多,妓乐也比较发达。大乐府,也称大三弦,是妓乐中规模比较大的一种表演形式,是戏剧的雏形,所以也称妓戏。妓乐本为迎慰使客而设,所以两西沿路各邑之妓乐表演,也常迎合使行人员的心理和情绪,而妓戏与使行关系更为密切。朝鲜后期比较有名的妓戏,如《剑舞》、《抛球乐》、《项庄舞》和《离船乐》都是两西沿路各邑官妓常为使行人员表演的节目。这些妓戏不仅因使行而兴盛,而且《离船乐》产生于使行,使使行本身成为妓戏表演的内容。妓戏表演所渲染的情绪,以及观者的心理感受,也可反映朝鲜后期社会心理的变化。

Abstract

During the Qing Dynasty,prostitutes were provided to the Joseon Korea’s missions to China in the courier stations along the way from Sǒhǔng to Uiju,and accompanied by music performance,which was known as Ki’ak(妓乐). Among all kinds of Ki’ak,Dae’akbu(大乐府)which was also called Kihi(妓戏)as the rudiment of opera,was a large-scale performance form favored by the missions. The famous Kihi programs in the late Joseon Korea,such as Keom’mu(剑舞),Pokurak(抛球乐),Hangjangmu(项庄舞)and Yiseon’ak(离船乐),were often performed for the missions. These Kihi programs weren’t only driven by the missions to flourish,but also took the mission itself as the theme of the performance,such as Yiseon’ak. Through the emotions rendered by the Kihi performance and the psychological feelings of the audience,we can also experience the changes of social psychology in the late Joseon Korea.

作者简介
王元周:王元周,北京大学历史学系教授。