京剧

My wife and I love Peking opera, which flows in our blood and has become part of our lives.

我和妻子爱京剧，京剧在我们的血液里流动，已经成了我们生命的一部分。

Beijing is the cultural experience, we all know that there is a mélange : Beijing Mei school.

下面是正文：京剧是我国的国粹，大家都知道京剧中有一个流派：梅派。

My grandfather taught me to hum tunes of Beijing o pera from the time I was very young ;they are deep in my spirit,part of my soul .

从小祖父就教我哼唱京剧，京剧深入我的精神之中，成为我灵魂的一部分。

The music prototype of the opera Going to the West Gate is folk tune widely popular in Shaanxi, Shanxi, Inner Mongolia and northern Hebei Province. Through the organic integration of Peking Opera and Shanxi folk music, the melody of Going to the West Gate is more mildly pleasant ...

京剧《走西口》的音乐原型是广泛流行在陕西、山西、内蒙古及河北省北部地区的民间小调，而在该剧中通过将京剧音乐与山西民乐的有机融合，使得《走西口》的旋律更婉转、更优美，表演更具有观赏性和艺术性。

Model Opera based on traditional Peking Opera's reform, which breaks traditional prototype, choose practical subject that are a keen to daily life, colloquialism became read-sing processing's result, its wording is extremely rich, which produced inerasable characters.

样板戏&是对传统京剧革新的结果，它打破了传统京剧的模式，选择贴近生活的现实题材，对念唱做了口语化处理，其唱词极富特色，给人留下了不可磨灭的印象。&

The words "Pai-Chang"or "Pai5 Tiunn5" have many meanings But when used in traditional opera or music and explained as a kind of formal musical performance they are only applied in Taiwanese Peguan and Nanguan cultural circle particularly in Peguan circle There are two kinds of characters of "Pai-Chang" in terms of the function of the performance namely artistry and folk custom In Tainian city "Pai-Chang" which refers to the formal vocal performance without makeup and acting; nevertheless is used by the amateur actors' organizations of Peking opera as well Such a phenomenon raises two questions: first of all Although Peking the origin of Peking opera has vocal performance of Peking opera "Pai-Chang" is never used either artistry or folklore therefore how does this jargon hand down to the Peking opera circle in Tainan city ?

「排场」(pai5 tiunn5或ㄆㄞˊㄔㄤˇ)一词，用於戏曲音乐方面，做音乐的正式演出型态解释者，为台湾南北管文化圈所特有，其中又以北管最常使用。其以表演目的或弁郧荌粥洃嚏A可分为艺术性与民俗性两种。然而，在台南市及其周边的京剧文化圈内，亦使用有「排场」(pai5 tiunn5或ㄆㄞˊㄔㄤˇ)此一语汇，也指京剧的「正式清唱演出」。本研究动机基於对目前仅见於台南市及其周边之民俗性京调排场的两点疑惑：其一，按京剧的形成地－－北京，虽亦有京剧的清唱演出，然不论为艺术性或民俗性，北京人都不称为「排场」，那麼台南市京剧圈的排场语汇是如何得来的呢？代表了何种意义？

This paper therefore examines the development of "the folklore Pai-Chang of Peking opera aria in Tainan city" through literature review depth-interview oral history and participant observation The concept frame is culture organism as the vertical axle and elements of a folklore activity as the transverse axle There are several significant findings about the general picture of this subject: During the late period of Japanese colonial era Tainan local people who played Peguan music learned Peking opera aria and tried to bring Peking opera aria into the folklore Pai-Chang which was one kind performance and traditional custom of Peguan music Some people who came from other places and played Peking opera aria had also known or learned "Pai-Chang" with touching Tainan local amateurs "Pai-Chang" used to be performed by amateurs for worship of god or goddess or for seasoning and wedding celebration without rewards Amateurs volunteered to perform "Pai-Chang" only for their duty temples and fraternity of Peking opera aria The majority of the audience is people who perform or like "Pai-Chang" or who live nearby There is a fixed pattern of the performance including the repertoire and the arrangement of the band The main meaning of this performace is to pray God's blessings therefore the procedure of "Ban-Hsian" is the most essential and ahead of Peking opera aria singing With time goes by the number of the amateurs has dropped; yet the demand for the worship ceremony remains; hence some of the amateurs have been trained to become professional performers Besides although the idea and the meaning of "Pai-Chang" remains the pattern of the performance has become simplified and rigid which is because of the performers' number decreasing and market adapting Nowadays the whole ecosystem of the folklore Pai-Chang of Peking opera aria in Tainan city keep changing which is mainly influenced by the transition of the society(such as the time and space of the industrial and commercial society being compressed and most people's pursuing of specialization and utilitarianism etc ) According to the findings in this paper the phenomenon can be regarded as the subject matter both of Peking opera and folklore studies For the studies of the Taiwanese culture however the subject not only enriches the subject matters of the Taiwanese culture(signifies the localization of Peking opera and a new pattern of Taiwanese folklore) but also reflects the characters of diversification integration adaptation and compromise of Taiwanese culture which used to be influenced by different regimes and the historical contexts Facing such a multicultural context this paper thus suggests researchers should show an open-minded attitude toward the complex of the Taiwanese culture studies and then important phenomenon would not be ignored or misunderstood

代表了什麼意义？对於上述疑惑，查既有研究成果，不消没有论述者，具体提即「京调排场」现象的可说没有，基於此，有必要对台南市及其周边之民俗性京调排场，不管是语汇来由或者其现象本身，做一番研究。本研究透过文献、访谈、口述史、参与观察等方法，以文化有机体之纵的发展概念为经，以民俗表演之横切面各主客要素为纬，试图先对此文化现象调查并推论出一概貌：台南市民俗性京调排场的形成，是在京调传入台南，台南本地北管子弟改习或兼习京调后，结合北管音乐文化所固有的排场表演型态及民俗演出传统，融合而成，形成时间至迟在日治晚期。而一些不同时期的外来京调人士(如原本生长於其他地区、后移住台湾的票友，和中国大陆琴师等等)，也曾透过与当地子弟的接触，而习得或知晓「排场」语汇以及本地京调排场习俗者。此项音乐民俗表演在过往多由业余子弟於神诞或民众婚俗做寿时，对其有义务或交陪的庙宇及子弟间做酬酢性的演出，不收报酬；聆赏者多是京调同好与邻近民众，也有少数路过者；演出模式包括节目安排、乐队编制皆有一定；表演意涵上以「扮仙」祈求神明赐福人间最为重要，因此排仙必不可少，且一定先於京调演唱。随著时间推移，京调排场表演活动的各要素都有变动，惟变迁速度不一，大体而言，业余表演者锐减，人们对酬神娱神节目的需求仍在，因此一些过往的业余表演者遂逐渐转型为职业表演者。此外，虽然表演意涵不变，但在职业表演人员少、又要适应市场的情况下，表演模式亦逐渐流於简化、僵化。目前京调排场整体生态仍在转变的过程中，而这种变化应与工商社会时间空间的被压缩、事事追求专业化与尼Q化等因素有关。再者，据此概貌，在结论部分厘清其意义、定位以及其对台湾文化研究之启示。台南市及其周边之民俗性京调排场现象，可视为京剧研究与民俗研究的一环，然而对於台湾文化研究，除了其题材本身标志了京剧的本土化与台湾民俗活动之新类型，进一步扩充整体台湾文化研究的内容外，更重要的是现象背后所反映的台湾文化的多元融合与妥协适应取向。台湾的海岛地理位置与长期被不同文化背景政权所殖民的历史，其文化自然容易随社会环境改变而弹性适应变迁，呈现多元纷呈、多重覆叠的特色，因此展望未来，从事台湾文化研究应秉除单一观点，保持一定程度之开放与客观胸襟，方不忽视或误识更多重要的文化现象。

In the tune "the old city" represents Beijing, the music take the Peking opera as the source material, will divide the slow movement and the musical beat two parts, the slow movement sub-system will be persuasive the exquisite Peking opera melody to further process, causes it music, has displayed the urheen timbre delightful gentle performance special skill, will listen both to express feelings, the Beijing style to be full exquisitely, and will not lose the sonorous powerful place, music mood fluctuation repeat swings, the change will be careful, musical beat partial melodies sprightly smooth, by the urheen continuously the fast figure and the clear bright timbre, will entrust with this section of musics fresh and the active characteristic, but long will draw out a syllable appearance, also will then cause it alone lyricism, this music from differentThe angle expresses thinks of the ancient exquisite feeling, takes to the people infinite province to think with recalls.

曲中&古城&意指北京城，乐曲以京剧为素材，分慢板与流水板两部分，慢板部分系将婉转优美的京剧唱腔进一步加工，使之更加音乐化，发挥了二胡音色甜美柔和的演奏特长，听来既抒情优美、京味十足，又不失铿锵有力之处，音乐情绪起伏迭荡，变化细致，流水板部分旋律明快流畅，以二胡的连续快速音型和清脆明亮的音色，赋予本段音乐清新而活跃的特色，而长拖腔的出现，则又使之独具抒情性，本乐曲从不同角度抒发思古幽情，带给人们无限的省思与回忆。

According to the theory of literature and perform accreting, the author recognizes Mei-Lanfang pattern and Tian-Han partem is valuable to preserve and develop Beijing Opera, and points out theoretically a path for it.

三、本文从戏剧的文学性与表演性共生互补的关系这一角度重新认定了&梅兰芳模式&与&田汉模式&对京剧艺术的保存与发展的意义，从理论上为京剧的未来指明了方向。

But on the stage, there is no boat.

因为海派京剧不守宫廷艺术的分寸，夸张些、生动些，但比起地方戏来仍不失规矩，到底还是京剧嘛，俱备京剧的一切特点，只风格不同而已。

Breath, muscle contraction of the buttocks; arch body, as far as possible to hold his head, right leg straight towards the ceiling (peg-leg knee in order to avoid muscle tension).

呼气，收缩臀部肌肉；拱起身体，尽量抬起头来，右腿伸直朝向天花板（膝微屈，以避免肌肉紧张）。

The cost of moving grain food products was unchanged from May, but year over year are up 8%.

粮食产品的运输费用与5月份相比没有变化，但却比去年同期高8％。