초록 열기/닫기 버튼
The Beijing opera and the Kabuki are traditional theatrical arts representing China and Japan, respectively, and have their own identities. It is clear that the two plays between the two countries are completely different, but it is the same that there are unique stop movements that exist in common. The question of how the two plays stop and why they stop motivated this study. In short, the Beijing opera Liangxiang(亮相) and the Kabuki Mie(見得) is a method of acting that amplifies the unique artistic charm of the play by building a static form of the moment during the play's dynamic movements. If the Liangxiang(亮相) is the essence of the drama's formalized play, the representative movement that most clearly represents the morphological beauty of the Kabuki Kata(型) type is the Mie(見得). In this study, the fixed forms of the Liangxian(亮相)g and the Mie(見得) were considered and their meanings were explored, and the specific patterns and types of those were explored in the actual work. Furthermore, this study also evaluated the commonality and differences of acting production called the stop, which is formed as the same oriental play. Through this consideration, the stop actions, the Liangxiang(亮相) and the Mie(見得), were confirmed that are the main factors that form a "closed code" that can build their own identity, the opera and the Kabuki, by acquiring stylistic on the stage of the play. This study was the first field to be tried in Korea, and it is also meaningful that we have made some meaningful distinc-tions about unfamiliar the Beijing opera and kabuki’s stop movements.
키워드열기/닫기 버튼
Liangxiang(亮相), Mie(見得), Beijing opera, Kabuki, the Stop movement
