196:, ceding Taiwan to Japanese rule beginning in 1895. Western music education systems were introduced to Taiwan along with Japanese rule. At the time, "music" was a core subject officially rooted in the Taiwanese education curriculum, and was a compulsory subject in the teacher training system. It became an important part of the system that cultivated Taiwanese composers. In addition to learning from the education curriculum, dancers as well as musicians departed for Japan to pursue further studies.
435:
creative content moves toward freedom and diversity, the division of labor within the theater has gradually become comprehensive through professional training and international cooperation, including stage, lighting, music, and sound effects designs, etc. Dramaturgy, theater consultants, creative partners, and various creative and production platforms that have been adopted in recent years have opened up more possibilities for the creative environment of Taiwan's performing arts.
355:
founding of the
Chinese Writers' and Artists' Association, which incorporated a group of theater workers, along with theatrical troupes established by the military and academic institutions brought anticommunist and anti-Russian works to an apex in theater as well as in dance. Dance was regarded as a tool for reviving national culture and for uniting the collective consciousness of the people. The "created tradition" of "folk dance movement" was born within this temporal context.
431:
narrative methods of post-modern dance. Masters, authorities, and celebrity dancers are no longer held on a pedestal. Instead, with the bold use of daily life as the subject of dance, the core of post-modern dance lies in breaking the boundaries between life and art and challenging the hierarchies of dance. To a certain degree, it had a mutual resonance with the Little
Theater movement of that era.
427:, which performed in the inaugural Experimental Theatre Festival, officially launched the wave of Taiwan's Little Theater movement full of avant-garde and experimental character. It ushered in an era that gradually made strides toward the lifting of Martial Law and welcomed various stages of the Little Theater movement as well as more drastic social, artistic, and cultural changes.
412:, she actively promoted theatrical performances for children, students in universities, women, and religious groups in hopes that drama could play a role in social education. At the same time, magazines introducing Western art, film, drama, and creative theories also created new connections between Taiwan and Western culture in the context towards the lifting of Martial Law.
423:, presenting new styles that diverged from traditional dramatic forms and opened up a dialogue between traditional and modern dramas and enabled more people to see new possibilities. This greatly influenced the later development of modern drama and is regarded as a major milestone in the development of Taiwan's modern drama. As a result,
303:, a Taiwanese opera created through Western composition techniques, came under the scrutiny of the ruling powers. Ultimately, the major creative forces of New Drama could only rely on amateur performances. Without more profound artistic achievements and lacking in entertainment value, these works gradually fell out of the mainstream.
351:
Taiwan and immediately promulgated the
Martial Law. Subsequent to the repressive rule of the Kominka Movement, the Martial Law further exerted pressures and centralized power over the thoughts, actions and personal freedoms of the Taiwanese people, while suppressed the freedoms of performing arts activities at the same time.
147:, as well as song and dance performance activities such as chariot and drum pageantry, plowing pageantry, and others. These theatrical and musical elements and activities not only provided spiritual comfort but also became a breeding ground for traditional Taiwanese drama. From the dominance of the Nanguan opera in the early
372:
from other theatrical arts. The mechanisms for cultivating talents of Peking opera included formal education in the school system as well as schools affiliated with theater troupes, and thus private and public theatrical schools emerged in consequence. These schools did not only nurture operatic talents but many
430:
Around the time when
Martial Law was lifted, Taiwan experienced an accelerating disparity between the rich and the poor brought by rapid industrialization. In addition to responding to social issues through various experimental styles of drama, dance provided a response to contemporaneity through the
371:
literature and art placed similar restraints and restrictions on traditional theater, with the exception of Peking opera. Though popularly received in Taiwan prior to the arrival of the
Nationalist government, Peking opera was nurtured in the military and enjoyed a developmental ecology that differed
230:
At the same time, Taiwan's modern drama began to germinate. In contrast to performing through songs in traditional operas, these were called "New Drama" and were set in a contemporary social environment, where performers wore modern clothing and spoke the vernacular against a modern set design, which
159:
and ceremonial rites, or as recreation during agricultural slack seasons. Commercial and professional performances had not yet been developed. Performing arts as we know it rose to prominence only with the rise of theaters after urbanization and the involvement of industry professionals, who elevated
58:
Due to the specificities of its geographic location and temporal spatial contexts, Taiwan has experienced various regimes and has different ethnic groups and races, resulting in a variety of cultural systems and sources, which have integrated, resisted, converged, or competed with each other and have
350:
promulgated the
Regulations on the Management of Theatrical Troupes in the Taiwan Province, requiring all performances and activities to apply for registration in advance and strengthening control over theatrical activities and speech. In 1949, the Nationalist government comprehensively retreated to
408:, who was devoted to promoting theatrical performances and organizing events such as world theater festivals and youth theater festivals. Performance activities targeted students on campus. Although Li had a strong political backing and served as a member of the play script review committee of the
434:
At the same time, various genres of performing arts transcended their existing frameworks. "Transcultural" and "transdisciplinary" became mainstreams for certain types of creation and discourse. In addition to searching for artistry, they also explored potential for commercial entertainment. As
290:
implemented during the late
Japanese colonial period, most traditional operas were banned or forced to take on different performance formats. As a result, a profusion of professional theatrical troupes sprang up in an attempt to replace the gaps in the market after the ban on traditional opera.
354:
For example, the establishment of the
Chinese Literature and Arts Awards Committee in 1950 provided a sizable monetary award for the creation of literary and artistic works with a "national cultural consciousness" and "highlighting anticommunist and anti-Russian significance." The subsequently
151:
to the popularity of
Beiguan opera in the late Qing, family troupes, professional theatrical troupes, and apprentice associations began to form, which laid a foundation for the development of Taiwanese folk dance. Nanguan and Beiguan music were the predominant musical form during this period.
615:
172:, who established churches to proselytize and introduced Western church music to Taiwan. With the successive defeats suffered by the Qing Dynasty, European traders arrived in troves after the mid-19th century, setting up chambers of commerce and branch offices in Taiwan and bringing
67:
To a certain degree, the performing arts originate in rites and rituals. For instance, indigenous dances include festival dance, social rites dance, and recreational dance. Early records of
Taiwanese performing arts include dances performed at indigenous festivals, including the
391:
era. The diplomatic setbacks of the 1970s, including the withdrawal from the United Nations and severance of the diplomatic ties between the ROC and the United States, made Taiwanese people turn to culture and begin to seek for their own identity and national legitimacy. The
255:
and others in the hope to change ideological concepts in the society and culture at the time as well as to reform unpleasant social customs and elevate the cultural standards of the general public through theater, which was therefore referred to as "Cultural Drama."
909:
Chen, Pi-Hua (2011). "反共年代臺灣歷史劇的美學與政治── 李曼瑰歷史劇與戰後戲劇運動之展開（1949–1975）" [Aesthetics and Politics of Taiwanese Chronicle Play in Anti-Communism Era: Launch of Li Man-Gui's Chronicle Plays and Post-war Drama Movement (1949–1975)].
283:, striving to make strides toward modernization. The visit to Taiwan by modern dancers was of symbolic historical significance. Japan also provided a conduit for the introduction into Taiwan of ballet—the epitome of Western culture.
291:
However, the initial fervor in the development of New Drama was limited by conditions of social development and political factors, and faced scrutiny and suppression from the Japanese authorities as well as the
23:, the performing arts are typically classified into the broad categories of music, dance, drama, and traditional opera, with further subdivisions within each category. For instance, traditional opera includes
358:
In regards to traditional theater, Taiwanese opera was popularly received in commercial theaters during the Japanese colonial period and reached a further peak in the post-war 1960s. It was incorporated into
790:
Wang, Tsu-Liang. "戒嚴時期國民黨威權統合主義下的臺灣省地方戲劇協進會" [The Development of the Taiwan Provincial Local Theatre Association under the KuoMingTang Corporative Authoritarian Rule during the Martial Law Period].
728:
380:
talents as well. In terms of music, there were a number of educational systems established respectively by musicians from mainland China as well as by Taiwanese musicians who have studied in Japan.
335:, etc. In terms of dance, the authorities did not place limitations on the style or content of dance performances between 1945 and 1950. Whether they're Japanese creative dance, Western ballet,
315:, professional theater troupes of various regional theatrical genres from China arrived in Taiwan, which were more or less connected with the government or the military. Examples included
387:
era. The Western cultural trends, the mainstay in modernist ideologies and aesthetics at that time, had a profound influence in Taiwan and opened up international perspectives during the
563:邱坤良 (2013). "時空流轉，劇場重構：十七世紀臺灣戲劇與戲劇中的臺灣" [Changes of Time and Space, and Reconstruction of the Theatre: The Seventeenth Century Taiwanese Theatre and Taiwan in Theatre].
339:
cultural themes, or exotic dances drawn from various cultures around the world, the first generation of Taiwanese dancers were free to create and teach.。
164:. This was preceded by the development of Taiwan's fine arts and music in the 17th century, when the island was ruled by the Spanish in the north and the
409:
347:
687:邱坤良. "理念、假設與詮釋：臺灣現代戲劇的日治篇" [Concept, Assumption and Interpretation: The Chapter of Taiwanese Modern Theatre under Japanese Rule].
404:
The first phase of Taiwan's Little Theater Movement basically began to germinate in the 1960s, prior to the lifting of Martial Law, with
533:陳揚威. "現代舞與文化認同 當代臺灣原住民編舞者研究" [Modern Dance and Cultural Identity-A Study on Contemporary Indigenous Choreographers in Taiwan].
55:
acts, immersive experiences, and magic, and some are classified as "integrated art" or included in one of the above listed categories.
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224:
161:
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also proliferated, while the number of glove puppetry troupes had remained the highest among all theatrical genres since the
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with them. With the increasing number of missionaries, Western art and music was also imparted through the church system.
363:, film, and television media along with transformations in mass media. Glove puppetry progressed along a similar route.
287:
464:
420:
85:
393:
235:" in Taiwan's theatrical history were influenced by factors in the "political environment." For instance, the
185:
279:, to study in Japan. Upon ruling Taiwan, the Japanese government worked to put an end to practices such as
623:
368:
292:
215:
region to become the only theatrical genre that originated in Taiwan. Other theatrical genres such as the
548:陳新瑜 (2018). "1949年以降 台灣傳統戲曲發展初探" [The Preliminary Study on Taiwanese Traditional Opera in 1949].
997:
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216:
40:
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in Taiwan influenced the development of various theatrical genres, such as Beiguan opera and
572:
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In the field of dance, performances by the pioneer of Japanese modern dance Baku Ishii and
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diverged entirely from the traditional opera. The rise and fall of the development of "
220:
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136:
107:
The folk beliefs of the Han people arrived when residents along the coastal regions of
73:
36:
32:
1090:
1064:
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1012:
765:
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period between 1661 and 1683. Popular regional performances during this time included
1115:
328:
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200:
128:
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77:
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performances to the level of artistry, and such development did not occur until the
69:
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all continued to transform and evolve through time, civilizations, and development.
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48:
28:
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in Taiwan in 1930 catalyzed a trend among early Taiwanese dancers, represented by
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140:
93:
44:
419:, then chairman of the Stage Play Appreciation Committee, launched the first
576:
332:
112:
618:[Treaty of Peace between China and Japan (Treaty of Shimonoseki)].
383:
The introduction of modern dance in the 1960s played a pivotal role in the
950:
811:
384:
320:
316:
51:, and indigenous dance. Some genres are difficult to categorize, such as
484:
373:
108:
52:
20:
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theatrical troupes were active throughout Taiwan. The popularity of
989:
260:
199:
Prior to the outbreak of the Sino-Japanese War, the professional
155:
Taiwan's performing arts during this time still tended toward
8:
410:Chinese Literature and Arts Awards Committee
211:. Taiwanese opera began to develop from the
168:in the south, accompanied by the arrival of
63:From the Kingdom of Tungning to Qing Dynasty
348:Taiwan Provincial Chief Executive Office
476:
307:From post-war to the martial law period
964:邱坤良主編 (1998). 執行編輯：于善祿、曾顯章、張秀玲 (ed.).
7:
43:, and others, while dance includes
14:
400:After the lifting of martial law
288:Kominka (Japanization) Movement
953:[YAO YI-WEI]. 國立臺灣文學館.
396:was established at this time.
237:Taiwanese Cultural Association
1:
929:. 台北市: 晨星. pp. 148–149.
886:落日之舞：台灣舞蹈藝術拓荒者的境遇與突破1920–1950
641:. 國立台灣藝術教育館. pp. 1–104.
421:Experimental Theatre Festival
537:. 南華大學 – via 臺灣博碩士論文網.
1091:"從觀演關係與產業生態，思考「階段性呈現」的下一階段"
1013:"作與創作、地方與國際：談國際共製的權力結構及其切面"
863:. 台北市: 樂韻. pp. 24–29.
706:. 台北市: 衛城. pp. 44–47.
594:. 台北市: 聯經. pp. 61–62.
239:was established in 1921 by
84:Milalikis or Misacepo' and
1138:
465:History of Dance in Taiwan
115:came to Taiwan during the
1122:Performing arts in Taiwan
1039:"現象4：「戲劇顧問」角色浮現，豐實了創作厚度？"
16:Performing arts of Taiwan
968:. 台北市: 文建會. p. 36.
838:. 台中市: 晨星. p. 147.
816:(in Traditional Chinese)
704:假如我是一隻海燕 從日治到解嚴，臺灣現代舞的故事
394:Cloud Gate Dance Theater
225:Japanese colonial period
180:Japanese colonial period
162:Japanese colonial period
766:"1945-1990s 台灣現代舞蹈流變小史"
577:10.6257/JOTS.2013.12001
217:Hakka tea harvest drama
186:First Sino-Japanese War
689:Taipei Theatre Journal
624:National Palace Museum
620:「中華民國外交部保存之民國後條約協定」資料庫
293:Nationalist government
188:in 1894, the defeated
998:CommonWealth Magazine
990:"進步的軌跡 1987 黎明到來的那一年"
861:臺灣現代音樂發展探索（一九四五—一九七五）
425:Lanlin Theatre Troupe
346:erupted in 1947, the
194:Treaty of Shimonoseki
966:台灣劇場資訊與工作方法1- 戲劇發展概說
295:that followed. Even
90:Flying fish festival
485:"《2022表演藝術年鑑》資料登錄表"
342:However, after the
141:marionette puppetry
117:Kingdom of Tungning
753:. 台北市: 自立晚報社文化出版部.
184:Subsequent to the
1065:"場館各自貢獻 分段陪伴創作之路"
807:"台灣解嚴30年：平民生活的記憶"
450:Theater in Taiwan
301:Castrated Chicken
98:Mangayau festival
74:Maleveq festivals
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508:林玫君、盧昭惠 (2008).
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729:"手舞足蹈 台灣舞蹈躍動百年"
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590:陳郁秀 編著 (1998).
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460:Taiwanese opera
455:Music of Taiwan
445:Taiwanese drama
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313:post-war period
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245:Chiang Wei-shui
182:
174:Western culture
145:shadow puppetry
133:Taiwanese opera
65:
25:Taiwanese opera
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996:(in Chinese).
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749:邱, 坤良 (1992).
741:
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654:
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629:
616:"中日講和條約（馬關條約）"
607:
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582:
571:(第12期): 1–32.
555:
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535:美學與藝術管理研究所學術論文
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365:Anti-communist
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297:Lu Chuan-sheng
265:Choi Seung-hee
253:Wang Min-chuan
241:Lin Hsien-tang
221:glove puppetry
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137:glove puppetry
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33:glove puppetry
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936:9789864434213
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895:9789570850574
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888:. 台北市: 聯經出版.
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845:9789864434213
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738:(180): 36–43.
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519:9789860147469
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512:. 國立台灣藝術教育館.
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311:In the early
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37:Beiguan opera
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26:
22:
1099:. Retrieved
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1073:. Retrieved
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1047:. Retrieved
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1021:. Retrieved
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925:黃宣諭 (2018).
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885:
884:徐瑋瑩 (2018).
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860:
859:游素凰 (2000).
854:
835:
834:黃宣諭 (2018).
829:
818:. Retrieved
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801:
792:
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774:. Retrieved
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727:張中煖 (2011).
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703:
702:林巧棠 (2020).
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662:徐亞湘 (2015).
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637:徐麗紗 (2008).
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492:. Retrieved
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369:anti-Russian
357:
353:
344:228 incident
341:
325:Peking opera
310:
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281:foot binding
258:
249:Tsai Pei-huo
229:
209:Siping opera
205:Peking opera
198:
190:Qing dynasty
183:
170:missionaries
157:folk beliefs
154:
149:Qing dynasty
106:
66:
57:
49:modern dance
29:Peking opera
18:
912:台灣文學研究所碩士論文
795:. 國立臺灣師範大學.
751:日治時期台灣戲劇之研究
691:(13): 7–34.
666:. 台北市: 國家.
389:Martial Law
277:Lee Shu-fen
273:Lee Tsai-er
192:signed the
41:Hakka opera
1101:2023-02-09
1075:2023-02-09
1049:2023-02-09
1023:2023-02-09
870:9570342579
820:2023-05-05
776:2023-02-09
601:9571327689
592:百年台灣音樂圖像巡禮
494:2023-02-03
471:References
417:Yao Yi-wei
406:Li Man-kue
286:Under the
96:, and the
45:folk dance
914:. 國立中興大學.
550:中文文學系博士論文
415:In 1980,
378:acrobatic
361:broadcast
337:Christian
333:Yue opera
233:New Drama
113:Guangdong
1116:Category
927:圖解台灣戲劇史綱
836:圖解台灣戲劇史綱
812:BBC News
793:歷史學系碩士論文
439:See also
385:Cold War
321:Qinqiang
317:Yu opera
72:and the
70:Pasta'ay
1097:. 國家兩廳院
1095:PAR表演藝術
1071:. 國家兩廳院
1069:PAR表演藝術
1063:吳, 孟軒.
1045:. 國家兩廳院
1043:PAR表演藝術
1019:. 國家兩廳院
1017:PAR表演藝術
1011:黃, 馨儀.
772:. 國家兩廳院
770:PAR表演藝術
639:臺灣藝術教育史
552:. 東吳大學.
510:臺灣藝術教育史
263:dancer
201:Beiguan
125:Beiguan
121:Nanguan
104:, etc.
100:of the
92:of the
76:of the
994:天下40週年
972:
933:
892:
867:
842:
710:
670:
664:臺灣劇史沉思
645:
598:
516:
489:表演藝術聯盟
374:circus
109:Fujian
102:Puyuma
88:, the
80:, the
78:Paiwan
53:circus
21:Taiwan
1089:白斐嵐.
1037:陳茂康.
951:"姚一葦"
764:林巧棠.
732:(PDF)
261:Korea
213:Yilan
166:Dutch
970:ISBN
931:ISBN
890:ISBN
865:ISBN
840:ISBN
708:ISBN
668:ISBN
643:ISBN
596:ISBN
565:戲劇研究
514:ISBN
376:and
367:and
219:and
111:and
82:Amis
573:doi
299:’s
271:,
94:Tao
19:In
1118::
1093:.
1067:.
1041:.
1015:.
992:.
814:中文
809:.
768:.
736:美育
734:.
622:.
567:.
487:.
331:,
327:,
323:,
319:,
275:,
251:,
247:,
243:,
227:.
143:,
139:,
135:,
131:,
127:,
123:,
47:,
39:,
35:,
31:,
27:,
1104:.
1078:.
1052:.
1026:.
1000:.
978:.
939:.
898:.
873:.
848:.
823:.
779:.
716:.
676:.
651:.
626:.
604:.
579:.
575::
569:無
522:.
497:.
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