A Taoist Interpretation: Qiemo (Stage Props) Produced Peking Opera Space
DOI:
https://doi.org/10.15294/harmonia.v25i1.10441Keywords:
“Peking opera Qiemo,” Taoist, ”Unity of Heaven and Humanity,” Triadic spaceAbstract
This research aims to explore the Taoist philosophical roots of the concept of “the unity of heaven and man” in the stage space of Peking opera, as created by Qiemo (stage props). It employs a case study approach, applies Lefebvre’s triadic spatial theory, and includes fieldwork at the Baoding Chinese Ancient Theater Museum. The findings reveal that the space formed by Qiemo reflects the dialectical relationship between heaven and humans. Specifically, the meaning of Qiemo is not fixed but is defined by the actor, symbolizing the human activation of the universe’s inherent meaning. Inspired by the natural order in Qiemo, actors strive for personal fulfillment, ultimately seeking to achieve “the unity of heaven and human“statue.
References
A, J. (1957). Special treatment of time and space in traditional opera. In Research on 20th-century opera stage art (2015).
Armstrong, E. (2010). A scenographic analysis of emergent British ‘national’ identity on the stages of the National Theatre between 1995–2005 (PhD thesis). University of the Arts London.
Bahauddin, A., Prihatmanti, R., & Putri, S. A. (2022). Sense of place on sacred cultural and architectural heritage: St. Peter’s Church of Melaka. Interiority, 5(1), 53–74. https://doi.org/10.7454/in.v4i2.178
Becker, H. S., & Geer, B. (1957). Participant observation and interviewing: A comparison. Human Organization, 16(3), 28–32. http://www.jstor.org/stable/44127708
Braun, V., & Clarke, V. (2022). Thematic analysis. SAGE publications.
Chen, Y. Q. (2015). Guan nian zhi se: Zhong guo chuan tong secai yanjiu [Conceptual colors: A study of traditional colors in China]. Peking University Press.
Chinese Opera Journal Editorial Committee. (1990). Chinese Opera Journal Hunan Volume. Culture and Art Publishing House.
Deng, J. W. (2009). Rediscuss the importance of Xiqu properties. Nanguo Hongdou, 2009(03), 75–76.
Dong, Y. X. (1987). Juanquxian zhuangshi wenyang [Curvilinear decorative patterns]. Sichuan Fine Arts Publishing House.
Fan, X. (2017). The concept of space in the Mohist Canon. Dongfang Forum, 2017(3), 30–34.
Fang, W. (2023). Application of traditional embroidery patterns of Northeast Manchu in cultural and creative product design. Western Leather, 2023(2), 108-110.
Gillette, J. M. (2012). Theatrical design and production (7th ed.). University of Arizona.
Gong, H. D. (1962, November). Talking about the performance of traditional opera scenery and the use of Qiemo. Originally published in New Construction. Reprinted in Research on 20th Century Opera Stage Art (2015).
Gong, H. D. (2004). Zhonghua Xiqu Wu Tai Mei Shu Jian Lun [An overview of Peking opera stage art]. Zhonghua Xiqu, (02), 63–96.
Gu, Y. (2016). Wen yang [Patterns]. China Pictorial Publishing House. (Guocui Tudian Series). ISBN 978-7-5146-1359-9.
Howard, P. (2002). What is scenography. Routledge.
Jia, Jiajia. 2022. “Study on the Formation History of Opera ‘One Table and Two Chairs.’” Master’s thesis, Hebei Normal University.
Jiang, J. (1958). On the stage art of traditional opera. Originally published in Drama Studies Collection (3). Reprinted in Research on 20th-century opera stage art (2015).
Khalil, R. M. R. (2019). An examination of the use and production of space in Brian Friel’s Translations (1980), Michel Tremblay’s Solemn Mass for a Full Moon in Summer (2009), and Emma Donoghue’s Room (2017). Textual Turnings: An International Peer-Reviewed Journal in English Studies, 1(1), 256–272. https://doi.org/10.21608/ttaip.2019.123771
Lefebvre, H. (1991). The production of space (D. Nicholson-Smith, Trans.). Blackwell.
Li, J. (2020). Chatting about the old master’s sword in Peking opera. Chinese Peking Opera, (08), 57–59.
Li, J., & Zhou, L. Y. (2020). A study on the “silk cord” accessory in ancient Chinese clothing. Textile Industry and Technology, (08), 94-96
Li, Z. G. (1992). The director’s art collection: Chinese Opera of Lizigui. Chinese Drama Press.
Lin, R. (2007). Style implication. Forum of Art, (59), 11–12.
Liu, S., & Wang, L. (2007). The relationship between traditional Chinese wooden architecture and wooden furniture. Zhuangshi, (02), 94-95. https://doi.org/10.16272/j.cnki.cn11-1392/j.2007.02.039
Liu, Y. (2002). Chinese Peking Opera costume trunk. Shanghai Lexicographical Publishing House.
Luan, G. H. (1994). Xiqu wu tai mei shu gai lun [An overview of the stage art of Chinese opera]. Culture and Art Publishing House.
Ma, S. B. (Ed.). (2005). The history of Peking opera. Chinese Drama Press.
Mackerras, C. (1994). Peking Opera before the twentieth century. Comparative Drama, 28(1), 19–42. https://doi.org/10.1353/cdr.1994.0001
Miller, J. P., Li, X., & Ruan, T. (2022). Taoism, teaching, and learning: A nature-based approach to education. University of Toronto Press.
Minford, J. (Trans. & Ed.). (2018). Tao Te Ching. Viking.
Nicholas, T. (2019). Roots and routes: Kingston-upon-Hull-upon-Stage during UK City of Culture 2017. European Journal of Theatre and Performance, (1).
Nield, S. (2001). The social theatre of power: Concepts of space and theatricality in interpreting power and resistance (PhD dissertation, University of Manchester).
Pan, T. (2020). Discuss the Jianchang of Xiqu stage. Journal of National Academy of Chinese Theatre Arts, 2020(03), 130–133.
Qi, R (1928). The Organisation of Chinese opera. In Qi rushan thesis collection (2010th ed., pp. 89–138). Hebei education press.
Shang, B., & Hong, Y. “Heaven, earth, materials, and craftsmanship” in furniture making. Art Research.2024（04）, 158-160.
Shen, B. (2020). Examination and defense of the inheritance of traditional Chinese opera props. Big Stage, 3, 97–102.
Song, Z. M. (2013). General introduction to traditional Chinese philosophy (3rd ed.). China Renmin University Press.
Sun, Y., Zhao, Y., Xue, S. A., & Chen, J. (2018). The theory development of traditional Chinese medicine constitution: A review. Journal of Traditional Chinese Medical Sciences, 5(1), 16–28. https://doi.org/10.1016/j.jtcms.2018.02.007
Tang, X., & Chen, C. (2014). The symmetry in traditional Chinese architecture. Applied Mechanics and Materials, 669-675.
Wolf, R. C., & Block, D. (2013). Scenic design and stage lighting (10th ed.). Cengage Learning.
Zhao, F. (Ed.). (2005). The general history of Chinese silk. Suzhou University Press. ISBN 7-81090-571-6.
Zhou, D. Y. (2009). Tài jí tú shuō [Explanation of the Taiji diagram]. In C. K. M. Chen (Ed.), Zhou Dunyi ji [The collected works of Zhou Dunyi]
Zhou, Y. B. (1946). History of Chinese theater. The Commercial Press.
