Lin Ho-yi. "’Spontaneous Performance’ in Taiwanese Opera in the Context of Improvisational Theater: Artistic Position, Research Perspective, and Dramatic Practice." Journal of Chinese Ritual, Theatre and Folklore 179 (2013.3): 123-84.
Among the many Oriental dramatic forms, Taiwanese Opera is the one that actually practices spontaneous performance with its “mu-bia-xi”(scenario-based performances). In fact, many local dramatic forms used to adopt “mu-biao-xi” for scripts and stage performances. In 1951, to reinforce political propaganda by means of drama,
China promoted “dramatic innovation” with policies that discouraged performances of “mu-bia-xi” through negative commentary, which hastened the disappearance of such performance art in . In China , to up-lift the artistic level of Taiwanese Opera, those who work in the field insist on the refinement of Taiwanese Opera techniques and have long had a suspicious regard for “mu-bia-xi” which is performed outdoors at temple festivals. As a matter of fact, the writing, creation, and performance of “mu-bia-xi” serves both to present and cultivate actors’ skills. This dramatic mechanism of writing and creating developed among the people is a precious resource of Taiwanese drama that calls for preservation and more consideration. Taiwan
This study evaluates “mu-biao-xi” by exploring the possible origin of “mu-bia-xi” (mechanism of the scenario-based performances) in Taiwanese Opera, tracing the beginnings and evolution of “mu-bia-xi” in drama, and examining the history of and recent developments in improvisational theater in the West with references from Western academia and drama studies concerning their attitude and research on improvisational theater. At this point, I explore the significance of “mu-bia-xi” as an artistic form in Taiwanese Opera, the research dimensions of its performance, and the possibilities of its dramatic practice.
This study first presents the history of improvisational theater in both Chinese and Western drama and the origin of “mu-bia-xi.” Then it analyzes the three developments of contemporary improvisational theater and points out the position of “mu-bia-xi” of Taiwanese Opera in the improvisational theater of both Eastern and Western drama and its contemporary development. Next, within the scope of “mu-bia-xi,” contrasting Italian “commedia dell’arte,” a most distinctive form of Western “mu-bia-xi,” and Taiwanese Opera clearly reveals the artistic characteristics of the “mu-bia-xi” of Taiwanese Opera. Finally, the study examines related works and views on the “mu-bia-xi” of Taiwanese Opera by applying Western academic and theater research and practice on “mu-bia-xi” and other forms of improvisational theater, and explores the possibility of combining such performances with contemporary stage performances.
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Lin Ho-yi . "Improvisational Performance and Creative Involvement in Taiwanese Gezixi Opera." Journal of Chinese Ritual, Theatre and Folklore 175 (2012.3): 107-75.
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Lin Ho-yi. “Politics and Traditional Theater: The Influence of the 1950s 'Theater Reform' on Local Theaters’ Developments and Their Formations of Theatrical Typology.” Journal of Chinese Ritual, Theatre and Folklore 165 (2009.9): 47-88.