학술논문
카운터 테너와 경극 건단의 비교 분석
A Comparative Analysis of Countertenor and Qiandan of Beijing Opera
A Comparative Analysis of Countertenor and Qiandan of Beijing Opera
Document Type
Article
Author
Source
중국학보 / Chung Kuk Hak Po [Journal of Chinese Studies]. May 30, 2024 108:185
Subject
Language
Korean
ISSN
1226-850x
Abstract
오페라의 카운터 테너와 경극 건단은 각각 서양 고전음악과 중국 전통 희곡 음악에서 남성이 여성의 목소리를 모방하는 특수한 가창자이다. 이들의 발생 원인은 여성이 무대 위에 설 수 없는 역사적인 배경, 국가나 종교적인 억압과 제한에서 비롯되었다. 이는 당시에 형성된 기형적인 예술 공연 형식에 속한다. 그러나 이 기형적으로 여겨졌던 예술 형식은 오늘날 세계적으로 경탄받는 인간 예술의 결정체가 되었다. 그럼에도 불구하고 이 두 가지 유사한 형태의 예술에 대한 비교 연구는 매우 미진한 상태이다. 따라서 본 연구는 카운터 테너와 건단의 대표 작품 20곡과 각각의 대표 성악가 20명을 선정하여, 음악적, 신체적 특징 등을 연구하여 두 예술 형식 간의 차이를 탐구했으며, 공명강과 공연 방식의 차이점을 연구했다. 연구 결과 카운터 테너 곡에 비해 건단의 곡의 음역이 다소 넓었다. 또한 이들의 평균 신장은 각 국가의 평균 신장에 비해 다소 작았으나 유의미한 차이는 아니라고 판단된다. 다만, 건단의 특성상 음성뿐 아니라 연기와 동작까지도 여성과 유사해야 하기 때문에 신장과 체형이 작은 편이 선호되는 경향이 있다. 공명강은 카운터 테너는 인두강에, 건단은 비강과 구강에 집중되어 있었다. 공연 형식에서는 카운터 테너는 고도의 보컬 기교에 중점을 둔 반면에 건단은 노래 기술뿐만 아니라 동작과 안무까지도 중시하였다.
Countertenors in Opera and Qiandans in Beijing Opera are specialized male singers who imitate female voices, each emerging from the Western classical music and traditional Chinese opera music. The origins of these roles are historically grounded in contexts where female performers were not allowed on stage, influenced by national or religious oppression and restrictions. This belongs to a formation of distorted art performance founded of the time. However, these once-considered distorted art forms, have nowadays become recognized worldwide as quintessential expressions of human artistry. Despite this, comparative studies of these two similar forms of art remain scarce. Thus, this study selected 20 representative works and vocalists for both the countertenor and Qiandan to research musical and physical characteristics in order to explore differences between the two art forms, as well as the difference in resonance cavity and performance style. The results revealed that Qiandan pieces generally possess a wider vocal range than those of countertenors. Although the average heights of performers are relatively shorter compared to national averages, this difference was not statistically significant. However, due to the emphasis on resembling females not only in voice but also in acting and gestures, smaller stature and physique tend to be preferred in Qiandan performers. Regarding resonance, countertenors typically focus on the pharyngeal cavity, while Qiandans concentrate primarily on nasal and oral cavities. In performance style, whereas countertenors emphasize advanced vocal techniques, Qiandans place equal importance on singing skills, movements, and choreography.
Countertenors in Opera and Qiandans in Beijing Opera are specialized male singers who imitate female voices, each emerging from the Western classical music and traditional Chinese opera music. The origins of these roles are historically grounded in contexts where female performers were not allowed on stage, influenced by national or religious oppression and restrictions. This belongs to a formation of distorted art performance founded of the time. However, these once-considered distorted art forms, have nowadays become recognized worldwide as quintessential expressions of human artistry. Despite this, comparative studies of these two similar forms of art remain scarce. Thus, this study selected 20 representative works and vocalists for both the countertenor and Qiandan to research musical and physical characteristics in order to explore differences between the two art forms, as well as the difference in resonance cavity and performance style. The results revealed that Qiandan pieces generally possess a wider vocal range than those of countertenors. Although the average heights of performers are relatively shorter compared to national averages, this difference was not statistically significant. However, due to the emphasis on resembling females not only in voice but also in acting and gestures, smaller stature and physique tend to be preferred in Qiandan performers. Regarding resonance, countertenors typically focus on the pharyngeal cavity, while Qiandans concentrate primarily on nasal and oral cavities. In performance style, whereas countertenors emphasize advanced vocal techniques, Qiandans place equal importance on singing skills, movements, and choreography.