Kunqu plays an important role in traditional Xiqu, and is called "Mother of drama." It has been four hundred years of history and vast context, and is the most representative image of Chinese culture. On May 18, 2001, Kunqu was issued "Oral and Intangible Heritage of Humanity" by the UNESCO, and the artistic status of Kunqu was recognized.
The spreading of Kunqu in Taiwan could be dated back to the KMT government moved to Taiwan in 1949. Kunqu also turned to Taiwan from the mainland China gradually, spreaded through the older dramatists who in teaching and promotion of the private sector and the support of government. Therefore, Kunqu gradually rooted and thrived in Taiwan.
This thesis focuses on the characteristics of writing and composing of contemporary Kunqu in Taiwan. In order to analysis the characteristics of the Contemporary Kunqu heritage in Taiwan deeply, it is aimed at the structure of the plays, the theme and the features of writing and composing by the traditional historical development and the contemporary innovative imagery. It explores the choice of subject, theme, configuration and performance style tunes and overall artistic presentation during the writing and composing of contemporary Kunqu with the establishment of official and private theatre groups, the path and characteristics of the localization of Kunqu.
This dissertation takes Taiwan's three of the most representative contemporary Kunqu "The Peony Pavilion", " Concubine Yang’s dream", "Fan Li and Xi Shi" as a research axis, arranges in sequence to the years of writing and composing, explores the theme of three Kunqu plays. It analyses the content, including topics, Guangmu and plot, Tune placement, music and choreography art forms and other overall planning.
We summarized the trend of the writing and composing of Kunqu in Taiwan, that is expected as a reference of writing and composing.
Keyword: Kunqu, writing and composing, Qupai。