Please use this identifier to cite or link to this item: http://hdl.handle.net/10397/97014
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dc.contributorDepartment of Chinese Culture-
dc.creatorHu, G-
dc.date.accessioned2023-01-12T06:19:27Z-
dc.date.available2023-01-12T06:19:27Z-
dc.identifier.issn1674-0890-
dc.identifier.urihttp://hdl.handle.net/10397/97014-
dc.language.isozhen_US
dc.publisher中山大学en_US
dc.rights© 2020 中国学术期刊电子杂志出版社。本内容的使用仅限于教育、科研之目的。en_US
dc.rights© 2020 China Academic Journal Electronic Publishing House. It is to be used strictly for educational and research purposes.en_US
dc.titleA study on the performance tradition and evolution of Zhong Kui drama in the Qing court theatreen_US
dc.typeJournal/Magazine Articleen_US
dc.identifier.spage65-
dc.identifier.epage73-
dc.identifier.volume2020-
dc.identifier.issue2-
dcterms.abstract作为亦人亦鬼亦神的人物,钟馗形象在清代宫廷戏曲中有着丰富的体现。大戏《劝善金科》与除夕承应《殿庭驱祟》的钟馗继承了岁暮驱鬼的传统,却以"温和"的形象呈现,作祟嬉戏的乐器消解了年终驱傩的严肃。元旦承应的《膺受多福》《万福攸同》,多达百名的钟馗只是福德星君命下"迎福""集福""锡福"的舞者,功能性的仪式再现与新正朝贺、君臣同欢的现实相呼应。清宫"嫁妹"戏曲并存昆曲折子戏《钟馗嫁妹》与除夕承应《南山归妹》,后者是宫廷剧作家模仿昆曲《思凡》而新创的钟妹戏曲,出嫁的喜庆热闹既迎合了除夕节令,也弥补了大众对钟馗小妹的想像。-
dcterms.accessRightsopen accessen_US
dcterms.alternative驱祟、赐福与嫁妹: 论清宫钟馗戏的演出传统与变迁-
dcterms.bibliographicCitation文化遗产 (Cultural heritage), 2020, v. 2020, no. 2, p. 65-73-
dcterms.isPartOf文化遗产 (Cultural heritage)-
dcterms.issued2020-
dc.description.validate202301 bcww-
dc.description.oaVersion of Recorden_US
dc.identifier.FolderNumberCC-0013en_US
dc.description.fundingSourceSelf-fundeden_US
dc.description.pubStatusPublisheden_US
dc.identifier.OPUS23817883en_US
dc.description.oaCategoryVoR alloweden_US
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