The Placeness of ZhuantaHutong and BensiHutong in Chinnese Performing arts History

Ueng-Sang Kwon

doi:10.15792/clsyn..82.201912.35

Journal of Chinese Language and Literature

2019, (82), pp.35-54
DOI :10.15792/clsyn..82.201912.35
Publisher : Chinese Literary Society Of Yeong Nam
Research Area : Chinese Language and Literature

Ueng-Sang Kwon ¹

¹ 대구대학교

ABSTRACT

The thesis views the placeness of ZhuantaHutong(磚塔胡同) and Bensi Hutong(本司胡同) in the history of Chinese performing art. It proposes urban planning of Beijing in a larger sense, preservation and excavation of precious historical remains as space of Topophilia in a smaller sense. Sense of place in ZhuantaHutong can be found as Zaju(雜劇) street, the performance stage for Zaju before the marks of modern writers such as Lu Xun(魯迅) and Zhang Henhui(張恨水). Being the only Hutong that preserves the original name of Beijing and deriving from the records and situational evidences mentioned earlier, ZhuantaHutong reveals its sense of place as Zaju street. Accordingly, the discovery of identity of ZhuantaHutong henceforth should be commenced by confirming its sense of place of being Zaju street. BensiHutong from Ming(明) and Qing(淸) dynasty is also a significant place for Chinese art history. It was the center of various performing arts centered with Jiaofansi(敎坊司) and its traces remain in the present in many forms. Including two Hutongs previously mentioned, many Hutongs in Beijing have changed over time, consciously and unconsciously, fading its significance of context and meaning in the sense of place. Cultural valuation should be minimal. The priority is to confirm the sense of place based on historical facts, and then to restore and remember. Redevelopment of the city is ‘death’ of the place. If facing inconvenience, alternative solution would be urban regeneration with a preservation of the sense of place.
KEYWORDS

placeness , ZhuantaHutong , Bensi Hutong , Chinese performing art , Zaju , Jiaofangsi
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