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Time: 02/03/2022 1643Views

Theoriginofdrama

Thetheoryofsinginganddancing

Thistheorycanbedividedintothreetypes:

(1)Thetheoryofcourtmusicanddance,Nalanxingde's"MiscellaneousKnowledgeofLushuiPavilion"intheQingDynastysaid:"ThemusicofthegreatcloudintheLiangDynasty,asanoldmannarratingthechangesofthegodsintheWesternRegions,andactressesactuallystartedhereAccordingtothefactthatancientmusicanddancehadmanydressed-upcharactersin"TheOriginalOpera",LiuShipeibelievedthat"theatricalperformersarealsoderivedfromtheancientmusicanddancers...therearealsothosewhoaresimilartolatergenerationsoftraditionaloperas."In"ChinesePrimitiveMusic,DanceandDrama",ChangRenXiasystematicallyinvestigatedthedramaticfactorsofprimitivemusicanddance,andbelievedthat"thesimplemusicanddanceinprimitivesocietywastheprecursortotheperfectdramainthefuture."ZhouYibai's"TheLongCompilationofChineseDramaHistory"tracestheearliestsourceofChinesedramato"MusicandDanceofZhouandQin".

(2)AncientSingingandDanceTheory,ZhangGengandGuoHancheng'seditor-in-chiefof"TheGeneralHistoryofChineseOpera"saidintheopeningsentence:"TheoriginofChineseoperacanbetracedbacktotheoriginalageofsinginganddancing."Weknowthatallartoriginatesfromlabor,andChinesesinginganddancingarenoexception."BookofShunCode"said:"Ihitthestonewiththestone,andthebeastsdanceattherate."Theso-calleddanceofthebeastsisnotasmystifiedbythelaterConfucianism,thatis,inthesage,eventhebeastscomeWorshipdance.Thiskindofdanceisplayedbyhittingwithstonesorhittingstoneswithhands.Therewasnodrumatthattime,soitwasveryprimitive.Later,thereweredrums,theso-called"danceofdrums,"andthiswentastepfurther.Thiskindofdancemaybeaprimitivereligiousceremonybeforegoingouttohunt,oritmaybeacelebrationceremonyafterreturningfromhunting.Thearticle"LüShichunqiu·AncientMusic"says:"EmperorYaoliisthequalityoflifeforpleasure.Thequalityistoemulatethesoundofthemountains,forestsandvalleys,tosing,touseleathertosetupthefencing,andtobeatthestonetoresemblethesoundofthejadechimeofGod,soastodancethebeasts."ThisisakindofancientmusicanddanceintheWarringStatesPeriod.legend.Youcanseeasceneofprimitivehuntershuntinginthemountainsandforeststhroughthedescriptionofthissonganddance:whilewhistling,whileplayingvariouspotteryandstonetoolstoterrorizethebeasts,thebeastsrushedawayandfinallyfinallyCaught.Thisprimitiveageartist's"quality"(actuallynotaperson,buttheentirepeopleatthattime)createdthehuntingdanceaccordingtotherealityoflife.Atthistime,theso-called"beasts"wereactuallypeoplewearinganimalskins.Thesceneof"dancing"isnothingmorethanamemoryofthejoyandexcitementofhuntinglife.Ofcourse,thescenesatthistimehavebeenartistic,musicanddancehavebeenrhythmic,thiskindofdancehasastrongceremonialnature,itisaprayeroftheprotectororancestoroftheXiangclan,inordertogooutthistimeHuntingtogetagoodharvest,ortoreturnfromhuntingtorewardthegods.Butnomatterwhatritualitis,andnomatterhowthickitisdressedinprimitivereligion,itsactualmeaningisakindofexerciseandexerciseforlabor.Thisnotonlyexercisestheproficiencyofhunters,butalsocultivatesthem.Ayounghunter,thereisarecordofMingKui"DianLeTeachingCopies"in"BookofShunDian".Theannotationof"Boss"referstothechildrenofnobles,buttherearenonoblesintheprimitivesociety.Iamafraidthattheyareyoungwarriors.Toteachyoungwarriorswithmusicanddance,whatisitiftheyarenottrained?Becauseitscontentistheimitationofprimitivehuntingactions.

Sinceitisanactofimitatinglabor,itcanbesaidtobethemostprimitiveperformance.

Primitivedancesarealwaysaccompaniedbysongs.Theyneverdancesilently,butcheerandsingwhilejumping."LuShiChunQiu·AncientMusic"alsosaid:"GeTian'smusic,thethreepeopleareplayingoxtails.Goandsingeightsongs."Youcanimaginethesituationatthattime.

Inprimitivesociety,singinganddancingarenotonlyhuntingdances,butalsowardances.Itsnatureissimilartohuntingdances.Inthefarmingera,aseriesoffestivalsrelatedtofarminghavebeenproduced,suchas""Wax"islike"Yu".Waxisheldattheendoftheyeartorewardtheeightgodsrelatedtofarming.Onthisday,themembersofthecommuneenjoyedthemselves,drank,sanganddanced.ThisethoshaspersisteduntiltheSpringandAutumnPeriod."Confucius'sFamilyLanguage·Guanxiang"said:"Zigongisonwax.Confuciussaid:Givealso,happiness?Tothecontrary:thepeopleofacountryarecrazy,andtheunknownistobehappy.Confuciussaid:ahundreddaysoflabor,Thejoyofaday,thebeautyofaday,FeiErknows."Itcanbeseenthatthisiscompletelythejoyoftheworkingpeasantsafterayearofhardwork.

Accordingtolegend,"wax"wasthefirstcreationofYiqifamily.ItissaidthatYiqifamilyisShennongfamily,whichshowsthatthisisacustomcloselyconnectedwiththedevelopmentofagriculture."Yu"isasacrificialofferingtoprayforrainduetodrought."ZongBo"in"ZhouLi·ChunGuan"records:"Sorcerer...Ifthecountryisinaseveredrought,hewillbehandsomeanddancing."Althoughtherecordof"ZhouLi"isamatterofslavesociety,itisobviouslyalegacyofprimitivetimes.Inadditiontothecustomofcomingdown,dancesarealsoheldinmanyfestivalsoftheprimitivecommune.Forexample,whenmenandwomenfallinlove,thereisalsoafestivalwhereeveryonewillsinganddancetogether.IntheHanpeople,thisfestivalisadayforofferingsacrificestotheancestorsoftheclan.Thedanceperformedissaidtobecalled"Wanwu".

Oneofthemaincharacteristicsoftheoriginalsonganddanceisitsuniversalcharacter.Intheslavesociety,withtheclass,theartisticsituationalsochanged.Atthistime,thesacrificialritualwasnolongeranationalfestivalsonganddance.Yu,whowashandeddowntohissonbytheworld,whenhesucceededincontrollingthewatersandbecametheleaderofthetribalalliance,heimmediately"orderedGaoTaotoserveastheXiaYu90%,inordertoshowhismerits"(see"Lü'sSpringandAutumn·AncientMusic").Musicanddanceherehavebeguntolosethemeaningofthewholepeople,andbecomeameanstoboastofpersonalachievements.Yu'ssonQialsolearnsfromhim,boastingwithsinginganddancing,anddecoratinghisownmajesty.Accordingtolegend,hewenttoheaventhreetimes,stolethe"NineStrokes"(ie"NineShao")singinganddancingfromthesky,andperformeditinthe"DaMuZhiYe".Sincethen,theslave-ownersandnobleshaveusedsinginganddancingthatbelongedtothewholepeopletoextoltheirmerits.Inthe"LvFamilySpringandAutumn·AncientMusic",theyalsosaid:"TangNaiorderedYiYinasthe"DaHu",andthesong"Morning""Lu",modify"NineMoves"and"SixColumns"toseeitsgoodness."Butthedanceof"DaWu"praisedthemartialartsofZhouWuandZhouGongfordestroyingmerchantsandsuppressingtheslaverebellion.Thisistheso-called"wudance".Itdanceswithshieldsandweaponsinhand,andpraisestheruleroftheZhouDynasty."ShaoWu"ofhowtohaveorderandhowtheworldispeacefuliscalled"WenWu".

NowIquotearecordaboutthedanceof"DaWu"fromthe"HistoricalRecords·MusicBook"asfollows:

...Zisaid:"...Fu-musicians,likethosewhobecomesuccessful,arethemastersandthemountainsstand,andtheaffairsofthekingofmartialarts,carryforwardthevigor,theambitionoftheprince,sitinthechaosofthewar,theruleofZhouZhao,andthehusband’s"Wu"Fromthebeginningtothenorth,andthentobecometheshangdynasty,30%tothesouth,40%tothesouth,and50%tobenarrow.Zhougongleft,Zhaogongright,60%complex,withtheadmirationoftheemperor,andthevibrationForthefourexpeditions,ShengweiisinChina,anditisdividedintotwoparts,andthingsareplentiful,andithasbeenstandingforalongtimeinordertowaitfortheaspirationsoftheprinces."

Fromthisparagraphontheinterpretationofthedanceof"DaWu"Fromapointofview,hecontainsthecontentofastory.AlthoughWuisnotenoughtoexpressitscontent,thetendencytoactthestoryalsoexists.

(3)TheoryofSongsandDancesoftheWesternRegions,ChenCunandHuoXuchupointedoutin"OntheSongsandDancesoftheWesternRegions":betweentheHanandTangDynasties,alongwiththedevelopmentofeast-westtrafficandfrequenteconomicandculturalexchangesSonganddancedrama,abranchofWesterncultureandart,graduallyspreadtotheCentralPlainsandbecameoneoftheimportantsourcesofChinesedrama.RegardlessoftheBaixiintheHanDynasty,themusicanddanceintheTangDynasty,theWesternRegionsaccountedforaconsiderableproportion.EspeciallyintheTangDynasty,thedramafactorpenetratedintothemusicanddance.TheintegrationoftheWesternRegionsonganddancedramawiththetraditionalCentralPlainsdramanotonlyappearedinthethrivingsonganddancedramaoftheTangDynasty.TheChinesescholarRenBantangpointedoutthatthesonganddancedramaoftheTangDynasty“carriedtheoriginsoftheHan,JinandSouthernandNorthernDynastieslongitudinally,andthesentimentoftheNaxiyusonganddancedramawashorizontallycolored”.Asearlyasmorethanhalfacenturyago,Mr.XuDishanexplainedthatintheSixDynasties,theWesternRegions,suchasQiuci,Kangguo,etc.,aswellasIslamicorIndianmusicanddancetotheeast,hadtheviewthat"miscellaneousoperas"alsoenteredChina.

RegardingthesonganddancedramaoftheTangDynasty,"OldTangBook·MusicHistory"contains:thesonganddancedramaincludesbigface,head-shaking,taYaoNiang,andKuLeizi.Mr.RenBantangbelievesthatallthe"HaiyouSongandDanceVarieties"inTangDynastyareallsongsanddances.Inthesecondchapterof"TangTeasing","TheGeneralofSongsandDances",healsopointedout:"Oncethecontentisunreasonable,ortheskillsareinvolved,althoughtherecordissimple,theperformanceisvague.Itisnotconsideredthatthesonganddancedramaisindispensable."The"OldTangBook"onlycitedtheplayof"pullandhead",saying:"PullhisheadoutoftheWesternRegions,thehumaniseatenbythebeast,andhissonasksthebeasttokillhim,sohedanceswiththeelephantforthis."RenBantangKaoTherearemanydramasthatareinfluencedbytheWesternRegions.Itisclearlypointedoutthatthe"drama"oftheWesternRegionssonganddancedramaincludes"WesternLiangzi","SuMozha","Sariputra"andsoon."Head","PlayBrahman"andsoon."SuMozhe"isarepresentativeplayintheWesternRegionssonganddancedrama.TherecordofSuMozheisdetailedinTangHuilin's"AllScriptures"41:SuMozhe,XirongHuyuye,ZhengyunsaMozhe,thisplaywasoriginallyfromtheWestKuiczKingdom,anditstillhassuchasonginthiscountry.Thiscountryismuddy,bigface,head-shaking,etc.,eitherasanimalfacesorghostsandgods,pretendingtobevariousmaskshapes,anddrippingwithmudandwater.Pedestrians,orholdhooks,catchpeopleasaplay,atthebeginningofJulyeveryyear,theplayispublic,anditstopsonsevendays.Accordingtolocalfolklegends,thismethodisoftendisgustinganddrivesawaytheevilspiritsoftheRakshasaandeatsthepeople.SuMozhe,alsoknownasPohanHuOpera.Fromtheliterature,SuMozhewasmostlyusedforentertainmentbytherulersintheCentralPlains.FromthefirstyearofEmperorXuanzong'selephantintheNorthernZhouDynastytothefirstyearofEmperorXuanzong'sreignformorethan130years,itwasoftenlistedasapalace.Theprogramoftheinternalplayappreciationnaturallyhastoundergocountlesstransformationsandchangeswiththepoliticalsituation.TheclearestexampleiswhenthebookofTangZhongzongtoldZhangZhangthathehadmadefivesongsof"SuMozhe"infavorofZhongzong's"PoplingColdHuOpera".Thesamesaid,inthefirstyearofXuanzongKaiyuan,hewentontosuccinctlysaid:"NoallusionshavebeenheardinthePohanHuopera,nakedandfeet,Shengde,heisverydefiant,andheisveryincapableofcatchingmudwithwater."ThemusicanddanceofallethnicgroupsinBenaiadvocatedreligionbecauseofpoliticalneeds.DuringthetimeofTianbao,thepolicyof"turningBuddhaintoTao"wasimplemented.ThepouringcoldHudramahighlightsthepoliticalpreachingandplayfulatmosphereof"dedicationofloyaltyandbirthday,eternalcelebrationoftenthousandyears"and"barbarianreturntoobedience",completelyobliteratingthecontentoffolkcustomsandtheconnotationoflifeintheWesternRegions.Therefore,itisnotadvisabletostudyandanalyzethesonganddancedramaofSumozheonlyfromtherecordsinthehistoricalrecords.ThewatersplashinginSumozheistheactivityofworshippingtheimmortalgodforPersianfolkcustoms.Theclearwatersymbolizes"Suma"Holywater.ZhangsaidthatthethirdsongofSuMozhe'spoemcontainsthephrase"Oilsacsobtainwaterfromtheheavens,andwilladdacupoflifetomillionsofyears."Doesn'titconfirmthemeaningof"Suma"theimmortalwine?ItcanbeseenthatthesplashingwateristhemostcriticalplotofSuMozhe.Thisistheessenceoftheplayandthefoundationoftheoriginalformoftheplay.Therefore,althoughithasbeenadded,deletedandmutatedduringthedissemination,thiscoreplothasalwaysbeenretained.

The"SuMozhe"performerswearvariousmasks,whichisanotherfeatureofthisplay.In"YouyangMiscellaneousMiscellaneous","Combinedwithdogheadandmonkeyface"allclearlyrecordedthemaskperformanceofthe"SuMozhe"songanddancedramaofKucha.Themasknotonlydepictsthecharacterofthecharactersintheplay,butalsoservesasameanstointerpretthecontent.Asanimportantsymbolofdrama,thediversificationofthemasksof"Sumozha"inKuchaindicatesthedevelopmentofdrama,thatis,thedevelopmentandmaturityofthe"touching"educationalfunction.Accordingto"AllClassics,SoundsandMeanings",thedramaformofQiuciperformedinmasks,inadditiontoSuMozhe,therearealso"bigface","unity"and"turningthehead".Regardingthe"bigface",thenamesofthedramasintheTangDynastyhave"LanlingKing",thebigfaceisthenameofthemask,"ThebigfacecomesfromtheNorthernQiDynasty,theLanlingkingislongandgracefulandbeautiful.Heoftenwearsamasktoconfronttheenemy.Zhuangzhi,forthisdance,inordertoimitatehiscommandtostabthecontent,itiscalledtheLanlingKingEnteringtheFormation."

Theplotof"LanlingKing"ismainlytopraisethe"commandingassassination".Dressingupwithmaskedcharactersiscertainlynotameredance,butadramaticperformance.The"LanlingKing"bigfaceisinfluencedbytheWesternRegionsandiscalledasonganddancedramaaccordingtotheWesternRegionsbigface,whichhaslongbeendemonstratedbyscholars.Mr.WangGuoweioncesaid:“IfyoumakeZhutouandZhudouhavehomonyms,andtheplaycomesfromthecountryofZhudou,orentersChinafromcountriessuchasQiuci,thenitshouldnotbeaftertheSuiandTangDynasties,orTherewassuchaplayintheNorthernQiDynasty,andsuchplaysas"LanlingKing"and"TaYaoNiang"areallimitated.,Isnotanofficial,butself-proclaimedasadoctor,addictedtodrinkingandalcohol,everytimehebeatshiswifewhendrunk,thewifeissorrowful,tellstheneighbours,andsometimesabandonshim.Thehusbandworeawoman'sclothes,steppedintothestage,singing,andeverytime,everyoneelsesaidinunison:"Takeandshake!Comeon,shakethemother!"Takeitstepbystepandsing.Therefore,itiscalledthis"steppingrumor."Whenhishusbandarrives,heactslikeafightandthinksoflaughter."TaYaoNiang"isreallyasonganddancedrama,notameredance.

WitchTalking

ThewaxsacrificethatprevailedintheZhouDynastyinChinaisaverydramatickindofsacrificeritual.ThistheorywasseenearlierintheSongDynastySuShi’s"DongpoLinzhi"(Volume2)Eightwaxes,threegenerationsofrituals,andgatheringsattheendoftheyear,thiskindofaffectionisinevitable,becauseitisattachedtoetiquette,itisalsosaidthatitisnotafool'splay.,Theremustbeacorpsetosacrifice,andifthereisnocorpse,itiscalled"liberation"...Today'swaxcalled"sacrifice"iscoveredwithacorpse.Whoshouldbethecorpseofacatoratiger?Whoshouldbethedeerandthegirl?Whoisnotadvocatingexcellence?"GedaiHazelStick"isusedtomourntheoldandthings;"YellowCrown"and"GrassHat"areusedtorespectwildclothes,bothofwhicharethewaysofplay.

MingYangShen,inthe"Sheng'anJi"(Volume44),pointedoutthe"NineSongs"ofChuci:"Theprosperityoffemalemusicoriginatedfromwitchcraft..."NineSongs"saidthatwitchesareusedtopleasethegods.Howisthemoodoftheirclothesandclothingdifferentfromthoseoftoday'sadvocates!"WangGuoweiproposedin"SongYuanOperaResearch":theprosperityofsinginganddancingbeganwiththeancientwitches?Wuzhixingisalsobuiltintheancientworld."ChuYu":"Theancientsarenotmixedwiththepeopleandthegods,thepeopleareexquisiteanddonotcarrythetwo,andtheycanbehonestandupright...so,thenthegodswillcome.Inthemale,thewitch,andtheyoungThedeclineofGao,JiuLichaoticvirtues,theminglingofthegodsandgods,cannotbeanything.Thewifeisforenjoyment,andthehomeisthehistoryofwitchcraft."Thegodofwitchcraftmustusesinginganddancing.Hebelievesthatancientwitchcraftsareprofessionalinsinging,dancing,andentertainingghostsandgods.Atthesametime,peoplewhosacrificetoghostsandgodsinancienttimesshouldbedressedupas"spiritualprotection"or"corpse"astheentityonwhichthegodsandghostsrely,andtheyarealsodressedas"spiritualprotection".Heisawitch,heconcludedthat"amongthewitches,theremustbethosewhoactlikegodsinclothesandappearances."Thisapproachisthe"sproutofdramainlatergenerations."Therefore,WangGuoweibelievesthat"thedramaoflatergenerationsshouldbebornfromthewitchcraftandthesuperior."

WenYiduosaidin"WhatisNineSongs":"Strictlyspeaking,theattitudeofpeopleintheperiodof"TheSongsofChu"twothousandyearsagotowards"NineSongs"isthesame.Itistoappreciateart.Thedifferenceisthattheyarewatchingtheoperainfrontofthealtar—akindofrudimentarymusical.Wecanonlyappreciatethesongsintheplayfrompaper."Healsosuspended"NineSongs"."Solution"isalarge-scalemusical.DongKang"QuhaiZongmuSummaryPreface":"ThetraditionaloperaoriginatedfromNuo,thehometownofancienttimes."Nuoisanancientritualofchasingghostsandepidemics,especiallyonNewYear'sEve.Dancerswearmasks..

The"witchcrafttheory"issimilartothe"religiousritualtheory".AnearliersystematicdiscussionoftheoriginofChinesedramain"religiousrituals"isthearticle"Chinesedramaoriginatedfromreligiousrituals"byProfessorLongPeteroftheUniversityofOxfordintheUnitedKingdom.,Includingmoderntimes,canalldevelopintodrama.Thevariousfactorsthatdeterminethedevelopmentofdramadonotneedtobebasedonthedistantpast.Theyarestillactivetoday."ZhouYudesaidin"ChineseOperaandChineseReligion":primitivereligionopenedupTheoriginofopera,pre-Qinreligiongavebirthtotheembryoofopera,QinandHanreligiongavebirthtotheembryonicformofopera,andmoresystematicallydiscussedtheroleofreligioninthestageofopera.

Haiyousaid

ZhangGengandGuoHancheng’s"AGeneralHistoryofChineseOpera"saidthatintheWesternWeekend,therewerenobleswhohadusurpedthemandusedthemtoentertainthem.Professionalartist"you"issometimescalled"promotion"or"haiyou"."Excellent"arefilledbymen.ItissaidthatintheXiaJieera,therewasanadvocateforexcellence.LiuXiang’s"TheBiographyoftheAncientLieNvBiography·TheBiographyofNieZhe·XiaJieMoxi"records:"Jie...receiveddwarfdwarvescanbewonderfulperformers,gatheraround,andcreatesplendidhappiness."Recordsaboutexcellent,Wasfirstseenin"NationalLanguage·ZhengYu"ShiBotoldZhengHuangongthatZhouYouwang"dwarf,QiShishiwasontheside".WeiZhaosaid:"Dwarves,QiShiareallpeoplewholaughwell",itcanbeseenthattheyarehaiyouatthattime.DuringtheSpringandAutumnPeriod,YouMengpretendedtobeSunSunShuaoandaskedthekingofChuzhuangtoquestionandanswer,whichhasalwaysbeenregardedasthebeginningofChinesedrama.SongDynastyGaoCheng's"ShiYuanJiYuanHaiYou"quoted"TheBiographyofWomen"assaying:"XiaJieabandonedetiquette,andsoughttopromotethedwarf,butwasaplayofQiwei."JiaoXunofQingDynastyalsosaid:"Theexcellentisthebest."ThetrickisthedescriptionofthegoodXiaopeople,themovinglaughter,andthesameasitistoday."WangGuowei's"SongYuanOperaResearch"notonlyconsiders"witch"asthesourceofdrama,healsobelievesthat"witchisthegodofmusic,anditisbettertouseit."Musicians,witchesaremainlysinginganddancing,witchesaremainlytunes,witchesarefemales,andwitchesaremales.EvenifyouMengzhiisSunShuao'sattire,andthekingofChuwantstothinkabouttheappearance,andyouperformadance.AndConfuciuscalledhislaughter,besideswords,hismolestingisalsoperformedinaction,whichisquitesimilartothesuperiorityoflatergenerations."Thisleadstotheconclusionthat"thedramaoflatergenerationsshouldbebothself-defeatingandsuperior".

ThehaiyuoftheSpringandAutumnPeriodandtheWarringStatesPeriod,suchastheexcellentperformanceofJinandtheexcellentMengofChu,aretheoriginsofdrama.Guiscommittedtosinging,dancingandjoking,andhasnotyetactedhistoricalstories.SincetheHanDynasty,itbegantoplayit.IntheSouthernandNorthernDynasties,theysanganddancedtogethertoperformonething,butthefactswerekeptsimple,withonlytheoutlineofthedrama."(ExcerptfromFolkloristHuangXianpan:"ASurveyofTangDynastySociety",CommercialPress,March1936firstedition)

PuppetTheory

ThisisseeninSunKaidi'sPuppetOpera"ResearchontheOrigin",hetracedthesourceofthepuppetshowtothe"goldenfour-eye"maskwornbyFangXiangshiintheWesternZhouNuoceremony,becauseFangXiangzhiusedrealpeopletodressup,andeverytimethefuneralwasoutofthefuneral,FangXiangshifirstusedthemask.Toopentheway,itisdeterminedthatthe"Kuleizi"containedinthe"OldTangBook·MusicHistory":"Asapuppettoplay,goodatsinginganddancing,thefuneralandfamilymusicisalsousedintheJiahuiattheendoftheHanDynasty"etc.,itisrecognizedThepuppettheaterimmediatelyevolvedfromFangXiangshi’sexorcism.However,becauseFangXiangshiusedrealpeopletodressup,itwassuspended."Therearetwoschoolsofcontemporarypuppettheater:oneisdressedasarealperson,andtheotherisplayedbyadummy.Thetwoaredifferentinnature.,Andtheyareallcalledpuppets.”Thebookalsosaysthat“thepuppetplayandshadowplayoftheSongDynastyarethemainonesdiscussedinthisarticle,andIthinkthatallthebigplaysthatcameoutoftheoperaandessayssincetheSongandYuandynasties,andevenlatergenerations,areallderivedfromthis."/p>

Outerspeaking

XuDishan’s"TheStyleofSanskritOperaandItsApplicationinHanOpera"drawsaconclusionfromthesimilaritiesinthecontentandexpressionofChineseandIndiandramas:"ChinesedramaIfthechangesarenotduetotheinfluenceofIndia,itcanberegardedascoincidencethatthesituationofthetwocountriescoincideswitheachother."ZhengZhenduo'sillustrated"HistoryofChineseLiterature"andJiXianlin's"ComparativeLiteratureandFolkLiterature"bothholdthisview.

FolkTheory

TangWenbiaobelievesinthehistoryofancientChinesedrama:"IthinkthemainoriginofChinesedramacomesfromthefolk,andtheancientdramaissolate,soitismixedwithcountlessfolkart,itspopularcontentandpopulartonalappearance,itsmediocrethinking,thethemeofhumanfeelingsandsophistication,thereasonwhyitisinlinewiththeworldThedifferencebetweentheGreektragedyandtheIndianSanskritdramaisentirelyduetothefactthatitcamefromthefolks,andthefirstpointistosatisfytheentertainmentandleisureofthecivilianclass.Therefore,itsmaturitymustwaitfortheresultoftheevolutionofChina'sagriculturalsociety.Aconcreteandmicro-popularcivilsocietyappearedintheSongDynasty."

Literarytheory

ThisviewbelievesthatliteratureistheimportantfactorthatinducestheoccurrenceofChinesedrama.Amongthem,thereareseveraldifferentviews:

  1. Speakingandsingingliterature.TheartofChineseoperaisasynthesisofmultipletypesofart.Itsproductionrequiresthematurityofvariousfactors,butthedecisivefactorisliterature.Thelarge-scaleoperasoftheNorthernSongDynastywereproduced.Itcomesfromspeakingandsingingliterature.

  2. HuangTianji’sspeechatthe"SymposiumontheOriginsofChineseDrama"said:"TalkingaboutChinesedramaisinseparablefromnarrativefactors...DunhuangBianwenisAnimportantfactorthatinducesdrama...acloserexamination,itisactuallyaverycrudesourceofChinesedrama."

  3. Speakingfromnovels.LiuHui'sspeechatthe"SymposiumontheOriginsofChineseDrama"inUrumqisaid:"TheoriginofChineseoperaisrelatedtoChinesereligion,folkcustoms,singinganddancing.Rapandsingingarecloselyrelated...AfterthedistinctionbetweenChineseoperaandnovel,itmustbeperformedinthefirstpersonratherthaninthethirdperson.Withoutthis,Chineseoperacannotbetalkedabout.Theremustberolebehavior.Withoutthis,itisnotopera.".

ThecradleofBaixi

ZhuZhaonianandPengLongxing'sbook"BaixiisthecradleofChineseopera"andthecloud:"DramaisinItwasconceivedandformedinthemiddleofthe'HundredOperas',andthe'JiaoxiOpera'wasthematrixthatdirectlybreddrama."WuGuoqinclearlystatedin"WasheCultureandtheFormationofChineseDrama":"IthinkoperawasformedintheHanDynasty,andintheHanDynastyDramaentitieshavealreadyappearedintheplay.Programslike"EastChinaSeaHuangGong"and"ZongHuiXianSing"aretheearlystagedramas.Theyareallkindsofdramaperformances,withactorsperforming,storiesrunningthroughthem,andaudienceparticipation.ZhangHeng's"XijingFu"recordedasfollows:HuangGongoftheEastChinaSea,redswordYueZhu,reliedonthewhitetiger,thepawncouldnotbesaved,theXiaXiemadeacup,soitwasnotsold.ThereisalsoarecordinGeHong’s"XijingMiscellaneousNotes"oftheEasternJinDynasty:HuangGong,anativeoftheEastChinaSea,usedtobeatechniqueinhisyouth,abletocontrolsnakesandtigers...IntheendofQin,therewerewhitetigersintheEastChinaSea,andHuangGongusedaredswordtogetridofit.Thetechniqueisnotgood,itiskilledbythetiger.Traditionallyusedasaplay,theHanemperoralsotookitastheplayofJiaoXiYan.HuangGong’sperformanceintheEastChinaSeabelongstotheJiaoDiXiopera.Theactorsperformthestoryofwrestlingsumowrestlingbywearingwhitetigermasks.Obviously,itisnolongerapurelycompetitivecompetition,buta“drama”,becauseJiaoXiiscompletedintheprescribedscenesofthedrama.Winorlosehaslongbeendecidedbydefault.BaixiintheHanDynastywasalsocalledSanYue,whichwasthegeneraltermforfolkperformancesofsong,dance,opera,acrobatics,andacrobaticsatthattime.TraditionalChineseoperaisbredinthis"mixed-up"performanceenvironment.Itdrawsonthestrengthsofvarioussisters'artsandformsitsowngenesinthemother'sbody.

Synthesisintothetheory

  1. LiGang's"OnthecharacteristicsandlawsofthecomprehensivenessofChineseoperaart"says:"SincetheartofChineseoperaincludessingingAcomprehensiveartofvariousfactors,suchaschanting,dancing,andbandaccompaniment...Thesekindsofarthavetheirowncharacteristics.Aftertheyareintegrated,theirrespectivecharacteristicswillchangeanddevelop..."

  2. ZhouYibai’s"OriginandDevelopmentofChineseDrama"says:"TheoriginofChinesedrama,inmypersonalopinion,startedwhenthecharactersweredressedupas"haiyou"and"Zhangyou".Thencombinewithotherartstoformacomprehensivedevelopment."

  3. RenGuangwei’s"AnalysisofMulianOperaintheNorthernSongDynasty"says:"Chineseoperaartisasynthesisofmultipletypesofart."

DevelopmentHistory

TheBirthofWesternDrama

ThedawnofWesterndramaisgenerallyregardedasanancientGreektragedy.TheancientGreektragedyoriginatedfromtheworshipceremonyofDionysusintheancientGreekcity-state.Inthefestival,peopleactedasDionysus,sang"OdetoGod"anddanced"SheepDance"(asheepisananimalrepresentingDionysus).AncientGreektragediesareallpoeticdramas,rigorous,quaintandsolemn.Theperformancewasaccompaniedbyasingingteam,andhistoricalfactsshowthatthesingingteamprecedestheactors.Regardingthisorigin,youcanalsorefertotheearlyphilosophicalwork"TheBirthofTragedy"bytheGermanphilosopherNietzsche.

ThebirthofChinesedrama

AsfarasWesterndefinitionisconcerned,Chinahasnotraditionof"drama".However,whendiscussingChinesedrama,ifitisnotdividedintostrictdefinitions,ancientChineseoperashouldbeclassifiedintothecategoryofdrama.

TherootsofChineseoperacanbetracedbacktothewitchcraftceremoniesfromthepre-QintotheHandynasty,butthedevelopmentofSouthernOperaintheSongDynastyhasacompletedramatextcreation.TheearliestexistingancientChinesedramascriptistheSouthernSongDynasty's"ZhangAssociationchampion.DuringtheYuanDynasty,withDadu,PingyangandHangzhouasthecenter,YuanZajushinedbrilliantly.Latergenerationsformedmanyformsofopera,thatis,varioustypesofopera.AfterthedevelopmentofKunquOperaintheMingDynasty,itwasfirstsoughtafterandlovedbygentryofficials.Theycreatedalargenumberofscripts,constantlyrevisedthescores,andatthesametimerevisedthedramatheoryofKunquOpera,andmadelegendaryscriptsanewmainstreamliteraryform.Afterwards,KunquoperawaslovedbytheroyalfamilyofthelateMingandQingdynasties,andbecameapartofthenoblelife,andbecameadramaartthatwasofficiallyaffirmed,soitwascalled"Ya";whilethelocaloperabasedonvariouslocaldialectswaswidelylovedbythepeople,itwascalled"flower".SointheQingDynasty,the"HuaYaControversy"wasformed,whichwasactuallyasituationofcommonprosperityofChineseopera.Thishasenrichedthecategoriesofoperaartandformedtheirownartisticcharacteristics.

Taiwan'sdramaresearchscholarZengYongyiputsforwardasetofargumentsthatwhendiscussingtheoriginofChinesedrama,weshoulddistinguishbetween"bigdrama"and"smalldrama".Bigdramasarematuredramas,andsmalldramasaretheembryonicdramas.type.ThebigdramawasdevelopedandcompletedaftertheJinandYuanzaju,andthepreviousSongzaju,DaimianoftheTangDynasty,TaYaoNiang,Botou,JunjunOpera,FankuaiPaijunDifficulty,etc.,canallbeincludedintheranksofsmalldramas,andChinaVeryearly,therewasasmalldrama.

BeforeChinahadculturalcontactwiththemodernWest,therewasno"drama"(mainlydrama)traditionintheWesternsense.TraditionalChinesedramaisakindofcomprehensiveartformthathasaplot,"singsanddancestoactoutstories",andintegratesmusic,singing,dance,martialartsandacrobatics,thatis,operaandfolkart.

DevelopmentofChineseOpera

Pre-QinPeriod→HanWeiPeriod→TangSongJinPeriod→YuanDynasty→LateYuanMingandQingPeriod→Modern

1songLyrics:Lyricswithmusic.2BinBai:ReferstoDaoBaiinancientopera.3subjects:Referstotheprogramactionsoftheopera.4thhousetune:Thetuneofthemusic.

ChinesedramaflourishedintheYuanDynastyandformedanartisticpeak.What'sthereason?

Firstofall,fromSongZajutoJinYuanben,andthentothebirthofYuanZaju,theinternaldevelopmentlawofartwasfollowed.Afteralongperiodofartisticaccumulation,adramaticperformanceformwiththecharacteristicsoftheChinesenationandcharacterizedbytheintegrationofsinging,reading,doing,andplayinghasfinallybeenformed.Amongthem,SanquplayedanimportantroleinfinalizingthestructureofZaju.Asfarasmusicisconcerned,thetunesusedineachpalacetuneofYuanZajuaremuchricherthanthoseofthetunesoftheotherpalaces,whichcanfullyperformaplot,whichconformstothestructureofdramaconflictfromformationtodevelopment,toclimax,andtoresolution.

Secondly,thecityhasunprecedentedprosperity,withmoreplaygrounds,especiallyalargenumberofwashers.AsearlyastheSongDynasty,therewasa"BookClub"organizationinGoulan,whichwasgenerallycomposedoflower-levelscholarsandexperiencedveteranartists,andprovidedscriptsforvariousperformancesinGoulan.ThematurityofYuanZajuhasobjectivelyraisedtherequirementsforbookclubs,andthereisanurgentneedforreaderstocompetefornewchaptersforthemtomeettheappreciationneedsofthebroadaudience.Thishascontributedtotheproductionofmoredramaticworks.

Again,therulersoftheYuanDynastydidnotsetupimperialexaminations,whichmadethescholarslosetherankofpromotion,sotheyfoundaplacetosettledownintheGoulanofWashe.OutstandingdramatistssuchasGuanHanqing,WangShifu,MaZhiyuan,BaiRenfu,andZhengDehuihavetrulypenetratedintothelowerstrataofsocietywithoutrealizingtheirlivelihoods.Theencounters,awakening,andresistanceofthoseatthebottom,especiallythosewhoadvocateexcellence,deeplyinfectedthem,soitwasonlyintheirwritingthattheywereabletoperformsingularstoriesandtocreateflesh-and-bloodcharacters.SomepeoplesaythatYuanZajuisanangryart.Inasense,itisnotanexaggeration.

Thestatusquoofdrama

ClassicalChineseoperaisanimportantpartofChinesenationalculture,intheworlddramacircleShangandAncientGreektragediesandcomedies,IndianSanskritdramasandtheworld’sthreemajorancientdramas.AsthenationalquintessenceofMeiLanfang’sPekingoperasystem,MeiPaiandBrecht’sBerlinTheaterandStanislavsky’sBolshoiTheatrearetheworld’sthreemajortheatersystems,whileKunquOpera,anothertypeofopera,isoneoftheworld’sculturalheritage.HistoryandexperiencesufficetoexplaintheindispensableinfluenceandirreplaceablestatusofChinesedramaintheworld,andfromthis,aconclusioncanbedrawnthatdramashouldbebrilliantandprosperousinChinesesociety.Thefactisthatfromthe1980stothepresent,dramahasencountereda"trough"inChina.Theannual"PlumBlossomAward"selection,thebiennial"WenhuaAward",theChineseTheatreFestival,andtheInternationalTheatreExhibitionaredizzying,buttherealcrisisishiddenbehindthegloriousglories,thatis,thenumberofaudiencegroups.Thesharpdrop.TheChinesetraditionaldramaintheirmindsisoutdated,notkeepingupwiththetrendofthetimes,andnothingnewatall.

Objectivereasons

Thedoorofthecountryisgraduallyopeninguptotheworld.Whileeconomicconstructionistakingoffrapidly,ithasalsobeenimpactedbymanyforeigncultures.Blockbustermovies,AmericanTVseries,JapaneseTVseries,andKoreanTVseriesfloodoureyes.Incontrast,traditionalChinesedramahashigherrequirementsforactors,andthescripthashigherrequirementsforliteraryandartisticquality.Fromaneconomicpointofview,althoughtheinitialinvestmentofamoviecannotexceedthoseofordinarymovies,theinput-outputratioisfarfromit.Anotherpointisthattheaterplaysdependontheater.Itispreciselybecauseheisperforminginthisrelativelysmallspace,theaudiencecoveragecannotbecomparedwiththeabovetwoartforms.

Subjectivefactors

Mostofthedramaactorsweretrainedduringtheten-year"catastrophe".Atthattime,therewereonlyeightplaysinthecountry.ThediversityofChinesetraditionaldramassufferedseverely.destroy.Therepertoirelearnedbynatural-learningactorsisnotthebestintermsofquantityorquality.Mostdramaactorsbelongtoatheater,thatis,aunit.Bigproductionsandbigsceneshavebecomenecessaryconditionsforawards.Localtheaterswouldrathernotperformlocally,butalsogotoBeijingtocompete.ThePlumBlossomAward,WenhuaAward,andGoldenLionAwardhavebecometheironlygoals,whichareclearlyseparatedfromthedrama.Themeaningandtheoriginalintentionofthedrama.Anotherpointisthattheoperationofthetheaterdependsonstatefunding.

Artform

InancientGreece,artwasdividedintomusic,painting,sculpture,architectureandpoetry,anddramawasclassifiedaspoetry.However,thetruetheaterartshouldcontainmultipleartisticelementssuchaspoetry(literature),music,painting,sculpture,architecture,anddance,andisthereforecalledcomprehensiveart.

Eacharthasaspecialmeansofexpression,whichconstitutestheexternalformoftheimage.Asacomprehensiveart,dramameltsavarietyofartisticexpressionmethods.Theirdirectandexternalperformanceinthecomplexis:

  1. literature.Mainlyreferstothescript.

  2. Artofplastics.Mainlyreferstoscenery,lighting,props,costumes,andmakeup.

  3. Music.Mainlyreferstothesound,interludes,andsoundtracksintheatricalperformances,andinoperasandoperas,italsoincludestunesandsinging.

  4. Dance.Mainlyreferstothedanceelementscontainedinthedancedramaandoperaart,whicharetransformedintotheperformingartsoftheactorsinthedrama.

Thevariousartisticfactorsinthedramaplaydifferentroles,andtheirstatusintheintegratedwholeisnotequal.Inthetheatercomplex,theperformingartsofactorsoccupythecentralanddominantposition,anditisthemainbodyoftheaterarts.Themeansofperformingart-bodymovementsandlinesarethebasicmeansofdramaart.Otherartisticfactorsaremeltedbytheontology.Scriptisthebasisofdramaperformanceanddirectlydeterminestheartistryandideologyofdrama.Asaliteraryform,althoughitcanbereadlikeanovel,itsbasicvalueliesinitsperformance.Ascriptthatcannotbeperformedisnotgood.Dramaticworks.Thevalueofthemusicalcomponentintheatricalperformance,whetheritisinterlude,soundtrackorsound,mainlyliesinthesynergyoftheactorsinshapingthestageimage.Theplasticartelementsintheatricalperformances,suchassetting,lighting,props,costumes,andmakeup,alsoplayaspecificauxiliaryroleinshapingthestageimageoftheactorsfromdifferentangles.Takingtheactor'sperformanceartasthemainbody,itabsorbsandmeltsavarietyofartisticelementstoformtheexternalformofdramaart.

Therearemanyformsofdramaperformances,includingdrama,opera,traditionalopera,dancedrama,musical,puppetshow,etc.Duetodifferencesinculturalbackgrounds,thetheaterformsproducedbydifferentculturesoftenhaveuniquetraditionsandprocedures,suchasWesterntheater,Chineseopera,IndianSanskrit,JapaneseNoh,andKabuki.

Moderntheaterconceptsemphasizetheunifiedperformanceofallperformanceelementsonandoffthestagetoachieveacomprehensiveartisticeffect.Theperformanceelementsincludeactors,stages,props,lighting,soundeffects,costumes,makeup,aswellasscripts,directors,etc.,aswellastherelationshipbetweenon-stageperformanceandoff-stageinteraction(generallyreferredtoasthe"viewingrelationship").

InTaiwan,China,dramaisabroadterm.Forexample,stageplays,TVdramas,moviesandotherformsofactingthatareperformedbasedonscriptsarecollectivelyreferredtoasdrama.

Dramalanguage

Thedramalanguageincludescharacterlanguageandstagedescription.

Characterlanguage:Alsocalledlines(inopera,itiscalled"NanBai").Linesarewhatthecharactersintheplaysay,includingdialogues,monologues,narrations,etc.Dialogueistheconversationbetweentwoormorecharacters;monologueisthewordsspokenbythecharactersintheplaywhentheyexpresstheirpersonalemotionsanddesiresalone;thenarrationisthewordsspokentotheaudiencefromthesidebyacharacterintheplaycarryingotherpeopleonthestage.Thescriptmainlypromotesthedevelopmentoftheplotthroughlinesandexpressesthecharacterofthecharacters.Therefore,thelinelanguageisrequiredtobeabletofullyexpressthecharacter,identity,thoughtsandfeelingsofthecharacters,bepopularandnatural,conciseandclear,becolloquial,andbesuitableforstageperformances.

Stagedescription:Alsocalledstagereminder.Itisanindispensablepartofthescriptlanguageandsomeexplanatorytextinthescript.Thestagedescriptionincludesthelistofcharactersintheplay,thetimeandlocationoftheplot,thecostumes,props,thescenery,andtheexpressions,actions,andappearancesofthecharacters.Thesedescriptionshaveacertaineffectoncharacterizingthecharactersandpromotingthedevelopmentofthedramaplot.Thispartofthelanguageisrequiredtobeconcise,concise,andclear.Thispartofthecontentgenerallyappearsatthebeginning,end,andmiddleofeachact(field),andisusuallyenclosedinbrackets(squarebracketsorparentheses).

Script

Theconceptofdramainliteraturereferstothescriptcreatedfortheatricalperformance,orcalledthescript.

Thedramatext(ie"script")isthebasicelementofadramaandaprerequisiteforadrama.

Themostimportantthingaboutthescriptistobeabletobeperformedonstage.Dramatextisnotconsideredasthecompletionofart,itisnotthefinalartisticpresentationuntilafterthestageperformance(ie"performancetext").Amongtheliteratiinthepast,somehavecreatedscriptsthatarenotsuitableforstageperformance,orevenimpossibletoperformatall.Thiskindofdramatextiscalledthedeskdrama(alsocalledthestudydrama),andthemorefamousonesareWilde'spoetrydrama"Salome".Examplesofperformanceswithoutscriptshavealsoappearedinmoderndramas.

Theliteraryversionofdramacanbeappreciatedasaseparateliterarystylewhenitisnotperformed.

Theater

Aslongasitisaspace,itcanbecomeaplacefortheatricalperformances,generallycalled"theatre."Historically,therehavebeenmanyplacesdedicatedtodramaactivities,someoutdoorsandsomeindoors.Thesevenuesdedicatedtotheatricalperformancesincludetheaters,theaters,andstages.

InancientChina,theso-calledstagewasfirstusedinsinginganddancingceremonies.Ahighplatformbuiltfromsoilonwhichdancersstoodduringtheceremony.Asthedramamatured,atheaterappeared.,Stage,pavilion,goulanandotherperformancevenues.

WesterntheaterperformanceshaveevolvedfromGreekamphitheatersandancientRomanamphitheaters(ie,the"colosseum")tothemodern"framedstage",whichissuitableforthe"blackbox"ofpioneeringexperimentaltheaterperformances.(BlackBox,orblackbox,blackbox),"smalltheater"(ExperimentalTheater).

Dramacategories

Maincategories

Accordingtothesize,dramaliteraturecanbedividedintomulti-actplays,one-actplaysandsketches;

PressTheformofexpressioncanbedividedintodrama,opera,poetrydrama,dancedrama,opera,etc.;

Accordingtothetheme,itcanbedividedintomythdrama,historicaldrama,legendarydrama,civicdrama,socialdrama,familydrama,sciencefictionDramas,etc.;

Accordingtothenatureandeffectsofdramaconflicts,itcanbedividedintotragedy,comedyanddrama.

However,themostbasicandmostusedcategoriesaretragedy,comedy,anddrama.Amongthem,tragediesappearearlierthancomedies,anddramaisalsocalledtragedyandcomedy.

Tragedy:Theessenceoftheconflict:"Theinevitablerequirementofhistoryandthefactthatitisimpossibletoachievethisrequirement."Theaestheticvalueoftragedy:"Destroythevaluablethingsoflifeforotherstosee".

Comedy:Aestheticvalue:"Teartheworthlesstoothers."

Truedrama:"amoreprofoundwaytomediatetragedyandcomedyintoanewwhole."

AncientGreekDrama

Theworld'sdramaartfirstappearedinancientGreeceontheAegeanSeaabout2400yearsago.Atthattime,inadditiontothemainactors,therewasalsoachorusteam,alwayscommentingonwhathappenedintheplay.What'sinterestingisthatduringthePericlesperiod,inordertoencouragepeopletogotothetheater,thegovernmentevengavetheaudiencea"dramaallowance."Thisisworthlearningfrominpromotingandprotectingculture.

Actors

AlltherolesinancientGreekdramasareplayedbymen.Theseactorsareprofessionalandhaveahighsocialstatus.Inthesameplay,oneactorcanplayseveralroles,andonerolecanalsobeplayedbyseveralactors.Becausethedistancebetweentheactorsandtheaudienceisverylong,theactorsmustfrequentlychangetheircostumesandmaskstoattracttheattentionoftheaudience.Actorsusethick-soledbootstomakethemselveslooktaller,andsometimeswearbrightlycoloredglovessothattheaudiencecanrecognizetheirgestures.

Theatre

TheearliestclassicalGreektheaterisverysimple:buildsomestepsonasolidgroundandaddawoodenboard.A"theater".InthefourthcenturyBC,anewtypeoftheaterappeared:ithadnoroof,wassemicircular,builtofstone,andtheauditoriumwassteppedandhasasteepslope.TheGreekscalleditthe"Amphitheatre".

ChineseOpera

Xiqu(traditionalopera,alsoknownasdramainhistory)isacombinationofvariousfactorsincludingliterature,music,dance,art,martialarts,acrobaticsandperformingartsAtraditionalChineseartofHannationality.Therearemanyandinterestingdramas.Theperformancesincludesinginganddancing,chantingandsinging,andliteraryandmartialarts.TakePekingOperaasanexampleoftheHanclassicaloperaart.Oneismaledisguisedasfemale(femaledisguiseasmaleiscommoninYueOpera);thesecondisthedivisionofthefourmajorprofessionsoflife,denial,cleanlinessandugliness;andthethirdistheexaggeratedmakeupartofcleanactors——Facialmakeup;fourth,“outfits”(thatis,operacostumesandprops)havebasicallyfixedstylesandspecifications;fifth,use“programs”toperformperformances.Chinesenationaloperas,from"haiyou"inthepre-QinDynasty,"baixi"intheHanDynasty,"junjunopera"intheTangDynasty,ZajuintheSongDynasty,NanxiintheSouthernSongDynasty,andZajuintheYuanDynasty,totheunprecedentedprosperityoflocaloperaintheQingDynastyandtheformationofPekingOpera.

AlthoughtheproductionofChineseoperawaslaterthanthatofGreeceandIndia,therewererecordsofhundredsofoperasasearlyastheHanDynasty.Itenteredamatureperiodinthe13thcentury,anditsheydaywasintheQingDynasty.AtthebeginningofthefoundingofNewChina,ithasdevelopedintomorethan300typesofdramas,andtherepertoiresareevenhardertocount.Intheworld,itiscalledthethreeancienttheaterculturestogetherwithGreektragediesandcomediesandIndianSanskrit.OperahasalwaysbeenrootedintheChinesepeople,anditislovedbythepeople.Amongthem,PekingOpera,HenanOpera,YueOpera,HuangmeiOpera,andPingOperaaresuccessivelycalledChina'sfivemajoroperatypes.Variousotherlocaldramashavetheirownaudiences.Peoplefarawayfromtheirhometownseventakelisteningtoandwatchingnationaloperasasaformofthinkingabouttheirhometown.

DramaFeatures

1.Itstartswiththosewholeave,andfinallyreconciles;

2.Inaword,"Itisalsocalledsinginganddancingtoactoutstories;

3.Departfromtheformandtakethemeaning,getthe"meaning"andforgetthe"shape".

Theartisticcharacteristicsofdrama

DramaAnumberofartformsaregroupedtogetherunderonestandard.Theseformsinclude:poetry,music,anddance.Poetryreferstoliterature,musicreferstomusicaccompaniment,anddancereferstoperformance.Inaddition,italsoincludesstageart,costumes,makeup,etc.Atthesametime,TraditionalChineseoperausessinging,reading,doing,andplayingasthebasicmeans,andalmostallkindsofperformingartsareintegratedintoonestage.Operaactorsmustmasterthe"fourskillsandfivemethods"(the"fourskills"aresinging,reading,doing,andplaying."Fivemethods"aremouth,hands,eyes,body,andsteps).

Inthe4thcenturyBC,AristotlehadexpressedhisunderstandingoftheessenceofdramainPoetics.Hebelieved:Allartisimitation,anddramaistheimitationoftheactionsofvariouscreatures.

Later,India’sfirstdramatheorywork"DanceTheory"alsopointedout:"Dramaisimitation."Afterthe19thcentury,therehavebeendivergentopinionsonthestudyoftheessenceofdrama.Therearemainlyaudience,conflict,radicalchange,situation,laboratory,etc..

Audience:Confirmingthattheaudienceisanecessaryconditionfordramaisalsotheessenceofdrama.FrenchdramatheoristF.Sassyisarepresentativeofthisconcept.Heassertedthatnomatterwhatkindofdramaworks,theyareallfortheaudiencetosee.Withoutanaudience,thereisnodrama.”Therefore,allelementsofthedramamustbeadaptedtotheaudience’sappreciation.

Conflict:TaketheFrenchdramatheoristBrentellasanexampleRepresentative.Attheendofthe19thcentury,Breenterpointedout:Thestageistheplacewherepeople'sconsciouswillisexerted.Theexertionoftheconsciouswillofthecharacterswillinevitablyencounterobstacles,andthesubjectmustfightagainstobstaclesinordertoovercomeobstacles.Thisconstitutesa"conflictofwill.""Theessenceofdramaliesinthis.TheAmericandramatheoristJHLawsonclassifiestheessenceofdramaas"asocialconflictinwhichconsciouswillplaysarole."Hebelievesthatbecausedramadealswithsocialrelations,peopleHisconsciouswillmustbeconstrainedbysocialinevitability.Therefore,thetruedramaticconflictmustbeasocialconflict.Thisconceptcanbeexpressedinonesentence:“Withoutconflict,thereisnodrama."XuShenintheEasternHanDynastyofChinastatedin"ShuowenJiezi":"Thedramabeginswithfightingsoldiersandismorepowerfulthanfightingforces,whileproliferationandfightingwitsaremorethanfighting."Thinkingthatdramaisthesublimationofthemostconflict-richlifescenes.

Thetheoryofradicalchange:BritishdramatheoristW.ArcherdeniesBrentell’stheoryof"conflict"Hecomparednovelswithdramas,thinkingthatnovelsare"gradual"art,anddramasare"crisis"(crisis,alsotranslatedascrisis)art.Dramadealswitharadicalchangeinhumandestinyandenvironment.ThisisTheessenceofdrama.

Situationandlaboratorytheory:Asearlyasthe18thcentury,FrenchphilosopherD.Diderotonceregarded"situation"asthebasisofdramaticworks.WhenHegeltalkedaboutthecharacteristicsofdrama,healsolinked"situation"and"conflict"together,andemphasizedtheontologicalmeaningofthesituation.ExistentialistphilosopherandplaywrightJPSartrecalledhisscript""Situationaldrama",andsaidthattheobjectofthedramaisthechoicebehaviorofpeopleinthesituation.B.Brechtregardsdramaasascientificmethod,andbelievesthattheateristotesthumanbehaviorinaspecificsituation.Thelaboratory.Thisconceptalsodefinestheessenceofdramafromaspecificperspective.

DramaOrganization

China

NationalTheatreofChina

BeijingPeople'sArtTheatre

ShanghaiDramaArtCenter

PerformanceWorkshop

GuaiKaTheatre

Taiwanmoderntheaterperformancegrouplist

Taiwantraditionaltheaterperformancegrouplist

TheatreGroup

ZannianTwenty-facePicture

HongKongRepertoryTheatre

Chung-BritTheatreCompany

AsiaUnitedCreation(Shanghai)CulturalDevelopmentCo.,Ltd.

LifeinSevenActs·Musical

Europe,NorthAmerica

TheRoyalShakespeareCompany

WestEndofLondon,England

BroadwayintheUnitedStates

TheUniversityofGreeceSongFederationPekingOperaTroupe

ArtAcademy

CentralAcademyofDrama

ShanghaiAcademyofDrama

ChinaAcademyofChineseOpera

LocalDrama

Beijing

PekingOpera,NorthernKunquOpera,XiluPingju,BeijingOpera.

HebeiProvince

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HebeiBangzi,Pingju,Sixian,BaodingOldTune,Hahaqiang,HebeiLuantan,Wu'anpingDiao,Wu'anLuozi,WesternDiao,LongyaoYangko,TangOpera,ShenzeZhuziOpera,AnguoOldTune,BaodingUpperFourTune,Baodingshadowpuppets,BaodingXianyutune,Baodingbangbantune,tenunusedlotusflowers,GuyiNuoOpera,HaixingNanGong,NorthernKunquOpera,DingzhouYanggeOpera,WeizhouBangzi,Gaoqiang,TangshanShadowPuppetry,SouthernHebeiShadowPlay,ZhangjiakouSaixi,LinzhangXidiqiuLuozi,WestRoadBounce,Lianhualuo,HejianNanxinzhuangPuppetShow,NovelTune,ZhuozhouHengqiTune,ZhangjiakouEastRoadErrentai,BaodingPoetryFuxian,XingtaiXianziqiang,XingtaiZhuoziOpera,XingtaiHuaiDiao,XingtaiWesternDiao,SuningWuShuOpera,HuaianRuanYangge,FeixiangLuoOpera.

ShanxiProvince

JinOpera,PuzhouBangzi,ZhongluBangzi,BeiluBangzi,ShangdangBangzi,GongandDrumVarietyShow,Shuahaier,LingqiuLuoluo,ShangdangPihuang,ShangdangDangluozi,YongjiDaoqing,HongdongDaoqing,LinxianDaoqing,JinbeiDaoqing,XiangwuYangko,HuguanYangko,QinyuanYangko,QitaiYangko,FanshiYangko,ShuoxianYangko,XiaoyiBowlQiang,QuwoWanwanqiang,Xianziqiang,FengtaiXiaoxi,HequDuotai.

InnerMongolia

InnerMongoliabigYangkotwo-personstage,Manhanopera,Mongolianopera,colorfullotusblossoms.

LiaoningProvince

HaichengHornOpera,LiaonanMovieMotivation,FuxinMongolianOpera,Errenzhuan.

JilinProvince

Errenzhuan,JiOpera,XinchengOpera,SingOpera,HuanglongOpera.

HeilongjiangProvince

Longjiangdrama.

ShaanxiProvince

Qinqiang,HanTiaoErhuang,AGongqiang,HeyangDanceOpera,HeyangXianqiang,Meihuqiang,ShaanxiWanwanqiang,ShaanxiLaoqiang,ShaanxiSouthernShaanxiGongOpera,ShaanxiDaoQingXianBanqiang,SouthernShaanxiHuaguOpera,AnkangXianziOpera,SouthernShaanxiHanDiao.

GansuProvince

LongOpera,GaoshanOpera,ShadowOpera,GannanTibetanOpera.

QinghaiProvince

QinghaiTibetanOperaandQinghaiPingxianOpera.

HenanProvince

HenanOpera,HenanYuetiao,NanyangBangzi,Dapingdiao,HuaibangDaxianOpera,LuoOpera,JuanOpera,HenanOpera,HenanDaoqing,HenanHuagu,OperaMusic,FiveTuning,Wanbang,Erjiaxian,PuOpera.

Xinjiang

XinjiangQuziOpera.

ShandongProvince

ShandongBangzi,Zaobang,LaiwuBangzi,DongluBangzi,LiuziOpera,DaxianziOpera,LuoziOpera,LuOpera,Maoqiang,Liuqiang,WuyinOpera,LiuqinOpera,Liangjiaxian,SipingTuning,Dengqiang,DongluElbowDrum,ZhuangOpera,YuguOpera,BaxianOpera,LanguanOpera.

JiangsuProvince

KunOpera,HuaiOpera,YangOpera,TongOpera,XiOpera,SuOpera,HuaihaiOpera,DanOpera,DingDingqiang,HaimenshanOpera,HuaihongOpera,SuzhouPingtan.

AnhuiProvince

HuangmeiOpera,HuiOpera,QingyangOpera,ShaheTune,YuexiGaoqiang,AnhuiMulianOpera,AnhuiNuoOpera,LuOpera,AnhuiDuangongOpera,SiZhouOpera,SuzhouZhuiziOpera,HanGongOpera,WuhuPearSpringOpera,WennanCi,WannanFlowerDrumOpera,FengyangFlowerDrumOpera,HuaibeiFlowerDrumOpera,TujuHiziOpera,HongshanOpera.

Shanghai

Vietnameseopera,Shanghaiopera,burlesque,Fengxianshanopera.

ZhejiangProvince

YueOpera,WuOpera,ShaoxingOpera,ShaoxingLianhualuo,XinchangGaoqiang,NinghaiPingtiao,SongyangGaoqiang,XingganOpera,WenzhouKunquOpera,JinhuaKunquOpera,HuangyanLuantan,ZhujiLuantan,OuOpera,HeOpera,HangzhouOpera,NingboOpera,HuOpera,YaoOpera,MuOpera.

JiangxiProvince

GanOpera,YiyangOpera,XuheOpera,DongheOpera,NingheOpera,RuiheOpera,YihuangOpera,NanchangTeaPickingOpera,GannanTeaPickingOpera,PingxiangTeaPickingOpera,WanzaiLanternShow,FuzhouTeaPickingPlay,Ji'anTeaPickingPlay,NingduTeaPickingPlay,GandongTeaPickingPlay,JiujiangTeaPickingPlay,JingdezhenTeaPickingPlay,WuningTeaPickingPlay,GaoanTeaPickingPlay.

FujianProvince

PuxianOpera,LiyuanOpera,GaojiaOpera,PingjiangOpera,FujianOpera,CommonPeopleOpera,CiMingOpera,DaqiangOpera,WesternFujianHanOpera,BeiluOpera,MeilinOpera,YouciNanjianDiao,XiaoqiangOpera,TriangleOpera,MinxiTeaPickingOpera,NanciOpera,MinxiMountainOpera,XiangOpera,DachengOpera,BambooCircus,YouchunOpera,ShoulderOpera.

TaiwanProvince

Taiwaneseoperaandpuppettheater.

GuangdongProvince

CantoneseOpera,ChaozhouOpera,OrthographicOpera,BaiziOpera,GuangdongHanOpera,WesternQinOpera,HuachaoOpera,NorthGuangdongTeaPickingOpera,LechangFlowerDrumOpera,LeiOpera,WesternGuangdongWhiteplay.

Guangxi

GuangxiOpera,YongOpera,SixianOpera,GuangxiShigongOpera,CaidiaoNiuniangOpera,GuinanTeaPickingOpera,TeaOpera,ZhuangOpera,MiaoOpera,DongOpera.

HainanProvince

JoanOperaandLinOpera.

HunanProvince

XiangOpera,QiOpera,ChangdeHanOpera,HengyangOpera,BalingOpera,ChenheOpera,XiangkunChangshaFlowerDrumOpera,YueyangFlowerDrumOpera,ChangdeFlowerDrumOpera,XiangxiLanternOpera,XiangxiYangOpera,HengyangFlowerDrumOpera,ShaoyangFlowerDrumOpera,LinglingFlowerDrumOpera,ShidaoOpera.

HubeiProvince

HanOpera,JingheOpera,SouthernOpera,HubeiYuetiao,ShanErhuang,HubeiGaoqiang,ChuOpera,DongluHuaguOpera,HuangmeiTeaPickingOpera,YangxinTeaPickingOpera,YuanAnhuaguOpera,XiangyangHuaguOpera,JingzhouHuaguOpera,LiangshanDrumOpera,YunyangHuaguOpera,SuixianHuaguOpera,TangOpera,WenquOpera,LiuziOperainWesternHubei.

SichuanProvince

SichuanOpera,SichuanLanternOpera,SichuanQuyiOpera,XiushanLanternOpera,FaceChanging.

YunnanProvince

DianOpera,YunnanLanternOpera,KunmingOpera,GuanSuoOpera,DaiOpera,BaiOpera,YiOpera,YunnanZhuangOpera.

GuizhouProvince

TheNo.1dramainGuizhouProvince,Tongren'sNuoOpera,GuizhouOpera,GuizhouBangzi,GuizhouLanternOpera,GuizhouDongOpera,GuizhouBuyiOpera,andGuizhouMiaoOpera,AnshunDiOpera.

Tibet

Tibetanopera.

Famousmastersofopera

InChinesehistory,therearemanytitlesforoperaperformers,suchasactors,actresses,prostitutes,actresses,sanyu,etc.,butbecauseinChinaInthepast,thestatusoftheperformersofdramawasnothigh,andmanyofthesetitlesalsohaveaderogatorymeaning.The“prostitution”isusedtocalltheatricalperformers,ofcoursebecausetheperformersaresingers,buttherehasbeenalongperiodofdramaandperformanceinhistory.Thereisindeedacloserelationshipbetweenprostitutes.

MeiLanfang

MeiLanfang,(1894.10.22—1961.8.8),MingLan,alsoknownasHeming,withthenameofXiongzi,thewordWanhua,andothersuffixesThemasterofYuxuan,thestagenameisLanfang.AnativeofBeijing,hisancestralhomeisTaizhou,Jiangsu.

MasterofChinesePekingOperaperformingarts.Hebegantolearnoperaattheageof8,andattheageof10heappearedonstageinBeijingGuangheloutoperform"TheMatchoftheImmortal",GonghuaDan,in1908,hebecameaclassofXilian,andin1911,variouscirclesinBeijingheldaselectionofPekingoperaactors,postedachrysanthemumlist,andMeiLanfangwaslisted.Thethirdplacetoexploreflowers.HeperformedinShanghaiforthefirsttimein1913,anditbecamepopularthroughoutJiangnan.

MeiLanfangisanoutstandingmodernBeijing-Kundanactor,thefirstofthe"FourFamousDanes",andaninternationallyrenownedperformingartmaster.Inmorethan50yearsofstagelife,hehascarefullystudiedandcourageouslyTheinnovationhascreatedmanybeautifulartisticimages,accumulatedalargenumberofoutstandingplays,developedandimprovedthesingingandperformingartsofPekingOperadancers,formingauniquestyleofart,knownasthe"MeiSchool",andiswellreceivedbythemassesinChina.Loveandenjoyahighreputationinternationally.Hisperformancewaspromotedasoneofthe"threemajorperformancesystemsintheworld".IntheeyesofWesterners,MeiLanfangissynonymouswithPekingOpera.MeiLanfang'sartisticachievementshaveplayedaroleinthedevelopmentofmodernChineseoperaart.

Representativerepertoiresinclude"UniverseFront","Wuhuadong","DrunkenConcubine","Chang'eFlyingtotheMoon","FarewellMyConcubine","DaiyuBurialFlower","TaizhenGaiden","PhoenixReturningtotheNest",""LifeandDeathHate","YouLongXiFeng"andsoon.

ChenSuzhen

ChenSuzhen,(April30,1918-March29,1994),formerlynamedWangRuoyu,female,ancestralhome:Fuping,Shaanxi,borninKaifeng,HenanProvince,SettledinTianjininhislateryears.Shebecameanapprenticeattheageof8,cameonstageattheageof10,andacceptedasanapprenticeattheageof13.Hewaspraisedbyaudiences,dramamastersandoperamastersas:agenerationmasterofHenanopera,agodofbeautyonthestageofHenanopera,"HenanMeilanfang","QueenofHenanOpera","TheTopoftheThreeTripodsofHenanOpera","TheKingofHenanOpera",ThefirstofthesixfamousChineseoperasinHenanopera.

In1925,theeight-year-oldChenSuzhenworshippedthefamousDanSunYandeinHenanoperatolearnopera.Ontheseconddayoftheseconddayofthelunarcalendarin1928,hepostedonthestageofYongleatXiangguoTempleinKaifeng,theancientcapital.Actingin"SunandMoonPicture",astheheroineHuLianying,shebecamethefirstactressinHenanopera.OnAugust16thofthelunarcalendarin1934,shereturnedtoKaifengfromQixianCountyandplayedtheroleofConcubineYangGuifeiontheYonglestagein"Anti-Changan".Hebecamepopular.Later,heperformed"AmbushonTenSides","SpringandAutumnMatching","TheLegendoftheWhiteSnake"and(TheFourGreatStrikes),whichwaspraisedbythemediaas"HenanMeiLanfang".InOctober1935,"ThreeSleeves"andotherplayswon"QueenofHenanOpera"laurels.Inthespringof1938,inKaifeng,itwaspraisedbytheaudienceasthetopthreeofHenanOpera.

OnMarch1,1940,inLuoyang,theancientcapital,sheparticipatedintheLionRoarOperaTroupe'scharityperformance"LingYun"."Chronicles"and"CleantheBlood".Intheautumn,withtheLion'sRoarTravelingTroupearrivedintheancientcapitalofXi'an,andperformedthreescenesof"CleantheBlood","ReturnoftheEnemy"and"Ligustrum"intheSanshanTheater.With6000people,oneplaycanearnsixtaelsofgoldinincome,whichmadeasensationintheentirecityofChang'anandwashailedasthe"KingofHenanOpera".

”“UniverseFront”,“HateoftheEarth”,“DragonandPhoenixOrder”,“ThreeSedanChairs”,“SpringandAutumnMatching”,“HeavenlyGathering”,“JadeBracelet”,“GoldenBeast”,“ThreeSleeves”,“DreamTears”,“PrivateFlower”"CleansingBlood","HoldingGoldChan","YiGale"andsoon.

YuanXuefen

YuanXuefen,(1922.3.26—2011.2.19)fromDushanVillage,ShengCounty,ZhejiangProvince.ChinaMasterofYueOpera,founderoftheYuanSchoolofYueOpera,GongZhengdan.Shebegantolearnartin1933.ShehasperformedinHangzhou,Shanghaiandotherplaces.

Shesingsearnestly,cleansherselfandmotivatesherself,staysvegetariananddoesnotsinginthehall.Yes,shedidnotsuccumbtothecoercionandtemptationoftheevilforcesinthesociety,andmaintainedherdignityasanartist.Sheadvocatedthatoperashouldhaveabeneficialeffectonsociety,soindifferenthistoricalperiods,sheactivelyperformedrepertoiresthatpointedoutthecurrentevils.

SheactivelyadvocatesthereformofYueOpera,notonlyinsingingandperformance,absorbingthebestofothers,portrayingcharactersandinneractivitiesinatrueanddelicatemanner;butalsoapioneeringraduallyperfectingtherehearsalsystem,usinglighting,setting,andreformsinclothing.HerreformshavebeenimitatedbyYueoperaactorsandotherdramas,andhavebeentaughtbylaterscholars.

Representativerepertoiresinclude"LiangShanboandZhuYingtai","TheStoryoftheWestChamber","Xianglin'sWife",and"WangZhaojun""PinkGoldenGe","DarkFamily","FragrantConcubine","ThePeerlessQueen","ALineofHemp","LoyalSoulCuckoo'sBlood","BreakLiaoPalaceMoon","AcaciaTree","MountainandRiverLove","PlumBlossomSoul","TheLegendofWhiteSnake""QiuJin","HuoYeVillage"andsoon.

XinFengxia

XinFengxia,(January26,1927—199April12,2008),female,formerlynamedYangShumin,nicknamedYangXiaofeng,fromTianjin.Attheageofthirteen,hestudiedPingjuOpera,andbegantoactastheleadactorattheageoffifteenandsix.Duringthetenyearsofturmoil,YangShuminwasleftdisabledduetothebrutalpersecution.AfterleavingthePingjustage,YangShuminbegantoinsistonwritingandpaintingwiththeencouragementofherhusbandWuZuguang.Herwork"TenThousandYearsPrison"wasselectedintothesixthlessonofthesecondvolumeofthefourthgradeofthePEPedition,describingtheintegrityofherfather.

Thestagenameis"XinFengxia".AsMr.QiBaishi'sapprenticeandrighteousdaughter,YangShuminiswell-knowntotheoldman.Herlifepeaches,peonies,chrysanthemums,plumblossoms,cabbage,pumpkins,etc.aredignified,old-fashioned,andsimple,withelegantandinterestingconnotations.OnApril12,1998,YangShumindiedofillnessinChangzhouCity,JiangsuProvinceattheageof71.Afteralongperiodofartisticpractice,YangShumingraduallyformedaunique"newschoolsingingvoice",especiallyknownforhisfluentfloralvoice-"pimplevoice".

Representativerepertoiresinclude:"LiuQiaoer","FlowerasaMatchmaker","SisterYang'sComplaint","JinshaRiverside","VolunteerFiancee","AccountantGirl","Xianglin'sWife"andsoon.

YanFengying

YanFengying,(1930-1968),female,fromHuangmeiVillage,LuolingTown,YixiuDistrict,AnqingCity.FormerlyknownasYanHongliu,amemberoftheCommunistPartyofChina,anoutstandingperformingartistofHuangmeiOpera,oneofthecreatorsofthedevelopmentofHuangmeiOperainChina,theshaperofthe"SevenFairies",andanimportantpioneerandcontributortotheinheritanceanddevelopmentofHuangmeiOperainChina.

YanFengyingbegantolearntosingHuangmeiTuneattheageof10,whichwasunacceptabletothetribe,andthenfollowedYanYuntolearnopera,andnamedFengying.InthefirstEastChinaOperaPerformanceheldinShanghaiin1952,YanFengyingreceivedwideacclaimforhistraditionalHuangmeiopera"HuntingPigCao"andtheexcerpt"LuYu".In1954,hebecamefamousalloverthecountryforplayingtheSevenFairiesintheHuangmeiOperafilm"HeavenlyFairy"..

SuccessfullyservedasthehonorarydeanofHuangmeiOperaAcademyinAnqing,Anhui,thethirdmemberoftheChineseFederationofLiteraryandArtCircles,andthefourthmemberoftheNationalCommitteeoftheChinesePeople'sPoliticalConsultativeConference.PersecutedtodeathduringtheCulturalRevolution,hisashesarenowplacedintheHuangmeiPavilioninLinghuPark,AnqingCity.ThereisamemorialhallofYanFengying'sformerresidenceinLuoling,Anqing.MaoZedongwrote"TheGoodSonoftheParty"forit.

YanFengying’srepresentativeworksofHuangmeiOperainclude"FightingPigCao","YouChun","XianxianMatching","TheSon-in-law","TheCowherdandtheWeaverGirl","TheCoupleWatchingtheLantern"andsoon.

Dramateaching

Theproblemsofthe"threeteachings"(textbooks,teachers,andteachingmethods)existingintheChineseactingteachingsystem,thehumanisticqualityinspectionsintheadmissionsofactingmajors,andtheadjustmentofteachingplansAswellasthereformofperformanceteachingmanagementandotheraspectshavebeenpaidattentionto.Performanceteachingshouldadopta"student-centered"model,performanceelementteachingshouldrunthrough,andgeneraleducationandprofessionaleducationshouldbecombinedtomeettheneedsofsocialdevelopment.

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