Title a Cinematization Scheme for Revitalizing Cantonese Opera By

Title A cinematization scheme for revitalizing cantonese opera by adapting existing and innovative filmmaking methodologies Sub Title Author 陳, 夏陽(Chen, Xiayang) 杉浦, 一徳( Sugiura, Kazunori) Publisher 慶應義塾大学大学院メディアデザイン研究科 Publication year 2017 Jtitle Abstract Notes Genre Thesis or Dissertation URL http://koara.lib.keio.ac.jp/xoonips/modules/xoonips/detail.php?koara_id=KO40001001-00002017 -0571 Powered by TCPDF (www.tcpdf.org) Master’s Thesis Academic Year 2017 A Cinematization Scheme for Revitalizing Cantonese Opera by Adapting Existing and Innovative Filmmaking Methodologies Keio University Graduate School of Media Design Chen Xiayang Abstract of Master’s Thesis of Academic Year 2017 A Cinematization Scheme for Revitalizing Cantonese Opera by Adapting Existing and Innovative Filmmaking Methodologies Category: Design Summary With the rapid urbanization in the Cantonese Region of China, the traditional performance in this area, Cantonese Opera, is now facing challenges in its development. Revitalizing this for of art is now a task with great necessity, various of artists from different industries are now exploring any method to regain the audiences’ attentions back to the centre stage of Cantonese Opera. This design research is aimed to locate a systematic Scheme to cinematize this form of performance, by using existing film language which proven to be effective in the narrative of Cinema, as well as new narratives, to transfer the plays from traditional stages to cinema screens. Following the guideline of researches in design, conducting various fieldworks, as well as analyzing various of existing works, on stages or in cinemas; a Scheme stresses on utilizing the existing as well as effective film language in this transformation, as well as preserving the nature and unique characteristic of this form of Opera, was proposed,. This Scheme covers from the very first period of filmmaking to the very last, from the pre-production scriptwriting to post-production editing. Addition to this, some new cinematic techniques were experimented to explore more possibilities. It is shown that this Scheme will be a valuable addition to the movement of revitalization of Cantonese Opera Films and Cantonese Opera itself. To evaluate the result, a questionnaire was handed out to the target audiences. Besides this, a Demonstration Video was produced following the guideline proposed, interviews were conducted for the purpose of data gathering. With all the information received, the evaluation shown that the Demonstration Video of the Scheme as well as the Scheme itself are acceptable in the majority aspects to the interviewees; it is also shown that they are deemed to be effective and feasible. Keywords: Cantonese Opera, Opera, Film Production, Art, Screenplay, Cinematography, Experimental Film Graduate School of Media Design, Keio University Chen Xiayang Acknowledgement Firstly, my families’ supports are always the most effective motivation for me to continue my study in Japan. I would also like to acknowledged the routine oversea phone calls made by the twins, they were truly important for my days in the Graduate School. Secondly, this thesis cannot be finished with the help from Professor Kazunori “UHYO” Sugiura and Professor Naohisa Ohta of the Graduate School of Media Design, Keio University. Thirdly, various help offered by my peers are, without doubt, worth-mentioning. Their names are: Gina Fitria Adita, Zikun “Ivy”Chen, Sarunya “Yammy" Hansarikit,, Adrio Kusmareza, Oneris Rico, Su Han, Zhu Yuluan and other Creato! members and related individuals. Lastly, I would like to mention various of fellow students, friends and facilitators of the Shimoda Student Village of Keio University in Hiyoshi, and, of the Tokyo International Exchange Centrein Aomi. My Graduate School life in the Tokyo-Yokohama region is definitely easier and more fulfilling will the companies of yours. Table of Contents List of Illustrations 0 1 Introduction 1 1.1 Background 1 1.1.1 A Short Introduction of Cantonese Opera 1.1.2 The Development of the Cantonese Region 1.2 Motivation, Goal and Research Approach 4 2 Review of Literature and Related Works 6 2.1 Literature Review 6 2.1.1 Cantonese Opera: Performance as Creative Process written by Bell Yung 2.1.2 When Opera Meets Film written by Marcia J. Citron 2.2 Review of Related Works 7 2.2.1 Cantonese Opera Film: Chuanqi Zhuangyuan Lunwenxu (2015) 2.2.2 Farewell My Concubine: the Beijing Opera (2014) 2.2.3 Stage Live Performances: Fighting for the Great Tang Empire (2015) 2.2.4 Nihonbashi Night Programme: Sakura - Japan in the Box presented by Meijiza 2.3 Findings 13 3 Fieldworks and Preliminary Experiment 15 3.1 Locating a Local Community 15 3.2 Details of the Fieldworks 16 3.2.1 Fieldwork in the Koto City Civic Centre 3.2.2 Fieldworks in the Kishicho Citizen's Centre 3.2.3 Fieldwork in Ueno Park 3.2.4 Fieldwork in Tokorozawa 3.2.5 Fieldwork in Aomi 3.3 Exploration of Future Possible Collaborations 21 3.4 Findings of the Fieldworks 22 3.5 Donut Project, the Preliminary Experiment 23 3.5.2 Camera Movement 3.5.3 Make-up 3.5.4 Time-lapse photography 3.5.5 Editing 3.5.6 Findings 4 Design Concept and the Final Prototype 29 4.1 The Methodology of Cinematography 29 4.1.1 The Choice of Frame Size 4.1.2 Camera Movement and Character Blocking 4.1.3 Special Shots 4.1.4 The Methodology of Lighting 4.2 The Methodology of Lighting 31 4.3 The Methodology of Art Design 33 4.3.1 Make-up Design 4.3.2 Set Design 4.3.3 Costume 4.4 Post Production 34 4.5 The Story 35 4.5.1 The Selection of Story 4.5.2 General Story Line 4.6 The Selection of Soundtrack 37 4.7 The Final Prototype 38 5 Evaluation 42 5.1 Method of Evaluation 42 5.2 Questionnaire 42 5.2.1 Analysis of the Result 5.3 Interviews after the Viewing of the Demonstration Video 49 5.3.1 The First Interviewee: L 5.3.2 The Second Interviewee: X 5.3.3 The Third Interviewee: S 5.3.4 The Fourth Interviewee: D 5.4 Result 53 6 Conclusion 55 6.1 Conclusion 55 6.2 Limitation 55 6.3 Future Work 56 References 57 Appendix 59 A The Questionnaire 59 B Script of the Feature Film Red Cotton Flower, The First Act 63 C Production Plan For the Demonstration Video 96 List of Illustrations List of Figures Figure 2.1: Press Release Screen Shot 1 of the Film Chuanqi Zhuangyuan Lunwenxu (Radio Television Hong Kong) 7 Figure 2.2: Press Release Screen Shot 2 of the Film Chuanqi Zhuangyuan Lunwenxu (Radio Television Hong Kong) 8 Figure 2.3: Press Release Posters of the Film Farewell My Concubine: the Beijing Opera (Pan) 9 Figure 2.4: Press Release Photo of the Stage Live Performances: Fighting for the Great Tang Empire (Jiongjiongyoushen Dongman Shengdian) 11 Figure 2.5: Press Release Photo of the Stage Live Performances: Fighting for the Great Tang Empire (Jiongjiongyoushen Dongman Shengdian) 11 Figure 3.1: Poster of the Event The Japanese-Chinese Cultural Exchange Club Week (Direct Translation) 16 Figure 3.2 Projected Screen on the TIEC Event 20 Figure 3.3: A Demonstration of the Donut Camera Movement 23 Figure 3.4 Two Setting Prior to the Actual Shooting 25 Figure 3.5: Project Donut’s Make-up Approach 26 Figure 4.3: Cinematography of the Demonstration Video 39 Figure 4.4: Lighting of the Demonstration Video 40 Figure 4.5: Make-up of the Demonstration Video 41 List of Charts Table 4.1: Various of Significant Events in the Modern Cantonese Region 36 Table 4.2: Aspects and Attempts of the Demonstration Video 38 Chart 5.1: Pie Chart of Question 1 Result 43 Chart 5.2: Pie Chart of Question 2 Result 43 Chart 5.3: Pie Chart of Question 3 Result 43 Chart 5.4: Chart of Question 4 Result 44 Chart 5.5: Chart of Question 5 Result 44 Chart 5.6: Chart of Question 6 Result 44 Chart 5.7: Chart of Question 7 Result 45 Chart 5.8: Chart of Question 8 Result 45 Chart 5.9: Chart of Question 9 Result 45 Chart 5.10: Chart of Question 10 Result 46 Chart 5.11: Chart of Question 11 Result 46 Chart 5.12: Chart of Question 12 Result 47 Chart 5.13: Chart of Question 13 Result 47 Chen !1 Chapter 1: Introduction 1.1 Background 1.1.1 A Short Introduction of Cantonese Opera Cantonese Opera is a traditional form of stage performance originated from the south of China in the 16th century. This art form is popular within not only its originated areas, but also within oversea Cantonese Communities. It was Inscribed on the UNESCO Intangible Cultural Heritage list in 2009 (UNESCO). Cantonese Opera, being a branch of Chinese Opera, shares similarities with the latter, how ever, it has its distinctiveness comparing to it as well, let alone comparing with European Opera. According to Yung, Cantonese Opera, while comparing to other Chinese Operas, has its unique approaches in elements of visuality, audio, musical scales, dramatic representations, performance descriptions, and most importantly, the language of performance (11-22). However, with such amount of unique characteristics, and rich culture background, the development of Cantonese Opera is not optimistic in the recent decades. The audience of Cantonese Opera is often, the common people, Yung mentioned that Cantonese Opera has two main social context, one is secular and the other one is not. Beside being performed in religion activity to worship the traditional gods, Cantonese Opera is often performed in Chen !2 private or semi-private neighbourhoods (32). In the rural area it is performed in social gatherings; while in the urban areas, it is often played in teahouses, to entertain costumers while they are doing the Yum Cha activity, an activity of drinking tea and eating Dim Sums with families and friends, much like the brunch parties in European Culture.

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