Contemporary Taiwanese Temple Theater Stage System And Management Research

In light of the performance culture, the chief range of this research involves the temple opera stages which have the closest relationship with Taiwan plebeian entertainment in early years. The article recognizes the origin of the Chinese traditional opera stages and theaters, and presents new explanations and definitions through artistic theories and the writer's study and analysis. Its goals are to expand the theater research dimension Cross-Straits, nurture the literature materials of the temple opera stage culture, and improve the mutual understanding of each side's living attitudes.The thesis is divided into five chapters. The first one is Introduction, mainly recounting the background, approaches, goals, meanings, structures, literature discussion, and noun definitions. In the literature Discussion section, though history evolving and political cutting has resulted different research directions, owing to the same religious and cultural origin, the literature materials still complement one another anyway. The Mainland emphasizes on the coexistent relationship among religion, architectural history and already has a large scale of records and researches about the regular opera stage forms, yet lacks of the relative Taiwan social, historical and current condition literature, especially that of Taiwan temple building, the opera stage styles, and the performance content in recent 40 more years. On the other hand, Taiwan owns extremely deficient information on a variety of opera stage styles because of rapid social formation changes, enthusiastic pursuit of the international scholastic theories, and a focus on the symptoms of the folk religions and performance culture on the Island. Therefore, this thesis can just timely make up the Mainland's deficiency of Taiwan temple data and reconnect funiculus relationship each other.Chapter 2 states the historical origin of Taiwan temple theaters, dividing into three sections by the historical relationship between China and Taiwan. Section 1 purports to re-examine the state of the temples and operas in every dynasty, and re-inspect the society's reactions to and influence on a temple drama performance via the definition of the Chinese temples and operas. From the traditional architecture and role-playing angles, it then describes the similarities and differences among the opera stage origins from various viewpoints, and also reports the styles of Chinese operas unified at formation. What brings up finally is that the gods in Taiwan temples and the history of the same origin with China together create identical demonstrations of the architectural opera stages in style.Chapter 3, the analysis of Taiwan's Contemporary Temple Opera Stages, is the core part of this research. Beginning at the origin of Taiwan temple opera stages, it tells the aborigines' status in the temple opera stage history, which is extended into the next section, the status and relationship with the folk temple opera stages of the original opera, Taiwanese opera and localized foreign opera, puppet show. In Section 3, the writer inducts three temple opera stage forms-- the regular form, the temporary form, and the mobile form-- as the conclusion, defining the three forms' goals and styles while reconstructing the cognition of the temple opera stages after comparing and analyzing the field research.Chapter 4 is on the Functions and Management of the Taiwan Temple Opera Stages. Based on the three opera stage forms mentioned above and the definition of a theater as a combination of a stage and the audience seats, the author thinks that many external measures, so-called stage techniques, will undergo or assist the information exchange, participation methods, and interpersonal perception communication between the actors and the audience, showing the functions of the three stage forms externally and in meaning. Section 2 is the Management and Research of an Opera Stage, from Taiwan's professional theaters and folk temple opera stage management respectively; it presents the analysis of the field research, the forms of the temple operas, and the diversities of cognition and methods of performance management.Chapter 5 comes to Conclusions and Suggestions. It sums up whether this essay has achieved the goals and suggests some ideas on temple opera stages, performances and Taiwan theaters, expecting being helpful for Taiwan and the Mainland when they do researches on the theater performance culture or make policies.