DirectorialFeaturesoftheElementsofPekingoperausedin

Directorial Features of the Elements of Peking opera used in AnimationJiaNi Zhou, MinSik Hwang, Hyun

Directorial Features of the Elements of Peking opera used in Animation JiaNi Zhou, MinSik Hwang, HyunSeok Lee Dept of Visual Contents Graduate School of Dong-Seo University Busan, South Korea moses472530@gmail.com hslee@gdsu.dongseo.ac.kr Abstract A. Origin of traditional Chinese Animation Peking opera is atraditional form of art which conveys Chinese Kim &Kim (2009) argued that Chinese animation from its history and sentiments. Although there has been an abundance of inception has expressed strong national cultural characteristics not research on Chinese traditional arts used in animation, research has only in characters but also in production method, subject matter and been limited on the use of Peking opera. This study examines the contents. [2] The first Chinese animation was produced by 'Man features of animation which draws elements from traditional Peking brothers' in Shanghai in 1926; it was asilent black-and-white short opera. First, pilot study addresses the features of traditional Chinese 〈 animation film calledNoisy Studio, 1926> as shown in Fig. 1. animation and Peking opera. Second, 3tangible elements and 3 Left). From that work, Chinese animators have long produced intangible elements of Peking opera are identified. Third, case study animations which convey the traditional Chinese aesthetics. In 1958, examined two animation films, <The Proud General (骄徼的将 paper cut-out, atraditional Chinese folk art form, was combined with shadow play to produce the first cut-out animation <Zhu Bajie 1956> and <Havoc in Heaven 1964>, which 军)，(大闹天宫), eats watermelon, 1958>. Ahn (2013) comments on the debut of the use elements of Peking opera. As aresult, it is shown that the animation director Tc Wei as Chinese animation 'leaving the period traditional elements of Peking opera are used in animation to of passive imitation of foreign works and entering aperiod of produce novel directorial features. This study highlights how the autonomous creation/ [3] traditional Chinese art of Peking opera is used in animation to enhance artistic and directorial functions. Keywords: traditional Peking opera, China Animation, Direction Feature I. Introduction Fig. I. Left) <Noisy Studio, I926>, Right) <Zhu Bajie eats walcnnclon, Peking opera, atraditional Chinese artistic theatre, conveys Chinese I958> sentiments; its artistic merit has meant that Peking opera has often made its way into modern media to produce hybrid works of cinema, drama and animation. Particularly in the animation genre, the very Thus the development of Chinese animation has been on abasis (锹 first long animation film produced in China, <Princess Iron Fan of traditional Chinese art; animation which adopts the elements of traditional Peking opera is one such example. The following case 扇公主)， 1941 >, used elements of traditional Peking opera; il is study examines Chinese animation films which adopt elements of not difficult to see that the elements of Peking opera hold the Peking opera that convey the Chinese tradition. traditional values of Chinese art. As such, there have been active researches on animation which adopt elements of Peking opera; but Peking opera as aTraditional Chinese Composite Ait Form B. research has been limited on their directorial features. Thus this study purports to examine the elements of Peking opera in Cha (2013) saw Peking opera as a"composite art form consisting animation to identify their directorial characteristics. of diverse elements' [4]; indeed, Peking opera II. Traditional Chinese animation and the elements of Peking opera Lee (2004) argued that 'Peking opera is airadilional Chinese theatre which has (he most profound influence of all Chinese cultural productions/ [1] Peking opera has been continuously produced and developed since its origin in Qi ng dynasty around (梅陶芳) 1790. In recent times. Mei Lan fang was highly popular. It is also widely known abroad, praised for its unique artistic merit.