[drama;play] In the old days, it was specifically referred to opera, and was later used as a general term for drama, drama, opera, dance drama, and poetic drama.
Greek drama
Drama, a general term for the performing arts of the stage in which narrative purposes are achieved in the form of speech, movement, dance, music, and puppetry. The literary concept of drama refers to the script, or play, written for theatrical performance. There are many different forms of theater performances, the common ones include drama, opera, dance, musical, puppetry and so on.
[edit]Specific meaning
One of the comprehensive arts. There are two meanings: the narrow sense refers exclusively to the ancient Greek tragedy and comedy as the beginning, first developed in European countries and then in the world widely popular form of stage performance, the English for drama (American: ['drɑm?] English: ['drɑ:m?]), China called drama. Broadly speaking, it also includes the traditional forms of stage performance of some countries and nations in the East, such as Chinese opera, Japanese kabuki, Indian classical theater, Korean chants, and so on.
The Concept of Drama
An art form that appeals to the audience's senses through a stage performance, centered on the performance of actors. Therefore, it is also called "stage art" or "actor's art". Surrounding the actor's performance, the drama contains a variety of factors such as literary factors (the script), musical factors (musical accompaniment, sound effects and singing in opera and operetta, etc.), artistic factors (scenery, lighting, stage set), and dance factors (the actor's beautiful movements and gestures), and is a comprehensive art. In a dramatic work, the contradictory struggle between characters is called dramatic conflict because of the different purposes pursued by the characters. A dramatic work is always completed by the presentation, development and resolution of a conflict. The success or failure of a dramatic conflict is the key to the failure of a drama. The so-called drama is formed precisely because the dramatic conflict is solved in a unique, novel and rich way. Due to the performance of time, space and audience limitations, the conflict of the drama should be more focused, more concise, more pointed response to the conflict of real life contradictions.
The essence of drama
In the 4th century BC, Aristotle already expressed his understanding of the essence of drama in Poetics. He argued that all art is imitation, and that theater is an imitation of human action. 2 centuries later, the first Indian work on theater theory, The Dance, also states that "theater is imitation." After the 19th century, the nature of the drama of the seminar appeared a diversity of opinions on the situation, the main audience said, conflict said, said the radical change, the situation, the laboratory said, and so on.
Audience: the audience is the necessary condition of the drama, and the essence of the drama. The French theater theorist F. Sassay is a representative of this concept, he asserted: no matter what kind of theater works, are for the audience to see. "Without the audience, there is no theater", therefore, all the organs of the theater must be adapted to the appreciation of the audience.
Conflict: the French theater theorist Brennenbühl as a representative, the end of the 19th century, Brennenbühl pointed out that: the stage is a place for the play of human conscious will, the play of the character's conscious will will encounter obstacles to the main body in order to overcome the obstacles to the struggle, which constitutes a "clash of wills", and the essence of the drama lies in this. This constitutes "conflict of wills", which is the essence of drama. J.H. Lawson, an American theater theorist, categorized the essence of drama as "the social conflict in which the conscious will plays a role". According to him, since drama deals with social relations, and the conscious will of human beings must be governed by social necessity, the real dramatic conflict must be a social conflict. This idea can be expressed in one sentence, "There is no theater without conflict."
Stimulus: British theater theorist W. Achill denied Brunswick's "conflict" theory, and compared the novel with the play, arguing that the novel is the art of "gradual change," while the play is the art of "radical change" (crisis, also translated as crisis), and the play is the art of "radical change. He compares the novel with the drama, saying that the novel is the art of "gradual change", while the drama is the art of "radical change" (crisis, also translated as "crisis"), and the drama deals with a radical change of human destiny and environment, which is the essence of the drama.
Situation, laboratory said: as early as the 18th century, the French philosopher D. Diderot had "situation" as the basis of theater works. Hegel talked about the characteristics of the drama, but also "situation" and "conflict" together, and emphasize the ontological significance of the situation. Existentialist philosopher and playwright J.-P. Sartre called his plays "situation plays" and described the object of drama as the human behavior of choice in a situation, while B. Brecht regarded drama as a scientific method and believed that the theater is a laboratory for testing human behavior in a particular situation. This concept also defines the nature of theater from a particular perspective.
The origin of the theater
First, the song and dance, which can be analyzed into two kinds:
(1) court music and dance, the Qing dynasty Nalan Shide "Bryant Pavilion Miscellany" cloud: "Liang, when the music of the big clouds, for an old man to act out the story of the Western region of the gods and goddesses of the matter of change, the U-ling really began here." Liu Shipei in the "original play" in accordance with the fact that the ancient music and dance more makeup characters, that "opera, derived from the ancient music and dance also ...... is solid with the later generations of opera is also similar." Chang Man in the country in the original music and dance and theater, a more systematic examination of the original music and dance drama factors that "the primitive society in the simple music and dance, is later made into a perfect drama of the precursor". Zhou Yibai's "Chinese theater history" will be the earliest source of Chinese drama to "Zhou Qin music and dance".
(2) Ancient song and dance, Zhang Geng, Guo Hancheng, edited by the General History of Chinese Opera, the first sentence of the opening of the cloud: "The origin of Chinese opera can be traced back to the primitive era of song and dance." We know that all art originates from labor, Chinese song and dance is no exception. The Book of Books. Shun Dian" says, "I hit the stone and attached it to the stone, and all the beasts danced at the same rate." The so-called hundred beasts rate dance, not like the later Confucian mystification, said in the saints in the world even the hundred beasts have come to worship dance, this dance is a stone with the stone hit or hit the stone with the hand to play the section Qin, then even the drums are not, can be seen is very primitive. Later, there was a drum, the so-called "drum of the dance," which goes further. This kind of dance may be a primitive religious ceremony before going out to hunt, or it may be a celebration ceremony after coming back from hunting, "Lv's Spring and Autumn. Ancient Music" states, "Emperor Yao was established, and he ordered Quality to make music, and Quality sang like the sounds of mountains, forests, and valleys, and he placed a violent leather on a percussion and drummed, and he patted and struck the stone to resemble the sound of God's jade chime, so that he danced with all the beasts." This is a legend about ancient music and dance in the Warring States period. Through the description of this song and dance, we can see a scene of primitive hunters hunting in the mountains and forests: "One side of the whistling, one side of the beating, all kinds of pottery, stone tools to sound to terrorize the wild beasts, so the beasts ran away and finally fell into the net, and this primitive age of the artist "quality" (in fact, not a person, but all the people at that time). This primitive age artist "quality" (in fact, not a person, but all the people at that time) is according to the reality of life to create a hunting dance, then the so-called "hundred beasts" is actually a person wearing animal skin and "dance" scene, but for the hunting life is just a pleasant and exciting memories. Of course, at this time, the scene is already artistic, music, dance are already rhythmic, this dance with a strong ritual, it is to ring the clan's protective god or ancestor prayer, in order to go out to hunt for a good harvest, or hunting back to thank the gods and goddesses and held. But no matter what ceremony it is, and no matter how thickly it is clothed in primitive religion, its actual significance is a kind of drill and exercise for labor, which not only exercises the hunters' proficiency, but also cultivates the young hunters, and the Book of Books. Shun Dian" recorded that Kui was ordered to "teach his sons through music". The note of "the son" is the son of the nobles, but there is no nobles in the primitive society, I am afraid it is the young warriors, and to teach the young warriors with music and dance, what is it if it is not to train them? The reason is that its content is the imitation of the hunting action of the primitive people.
Since it is the imitation of labor movements, this can also be said to be the most primitive performance.
The primitive dance is always accompanied by a song, they are never muffled jumping, but jumping on the one hand and cheering and singing on the other. The Lüshi Chunqiu. Ancient music" chapter also said: "Gertian's music, three people manipulate the tail of the cow. Throw feet and sing eight songs." Slightly imagine the situation at that time.
In primitive society, song and dance is not only a hunting dance, there is also a war dance, its nature and hunting dance is similar to the farming era, and produced a series of rituals related to agriculture, such as "wax" such as "summer". Wax is held at the end of the year to honor eight gods related to farming. On this day, members of the commune have fun, drink, sing and dance. This custom remained until the Spring and Autumn Period. The Confucian Analects of Confucius. Guanxiang" said: "Zigong watched the wax. Confucius said: "Is it a pleasure to give it to you? He said, "All the people in the country are crazy, and I don't know how happy it is to give them. Confucius said: a hundred days of labor, a day of joy, a day of zephyr, not known to you." You can see that this is entirely the joy of the laboring farmers after a year of hard work.
Legend has it that the "wax" was first created by the Yijian clan, which is said to be Shennong's enough to see that this is a custom that is closely linked to the period of agricultural development. The "summer rain" is a drought and rain ritual. In the Zhou Rites. Chunguan (Spring Officials), under "Zongbo", recorded: "If the country is in a drought, the commander of the wizard will perform a summer dance for the sake of the rain." Although the record of the "Book of Zhou" is a slave society, but apparently the original era of the legacy of the custom, in addition to many festivals in the primitive commune also held
dance. For example, if a man and a woman love each other, there is also a festival where they will sing and dance together. This festival in the Han Chinese people is the day of sacrifice to the female ancestors of the clan, the dance is said to be called "Wan dance" now the so-called "jumping moon" "rocking horse Lang" of the Southwest Minority Ethnic Minorities, "song market". "song market" and so on may be the form of this festival left behind.
One of the main features of the primitive song and dance is that it is universal. To the slave society, there is a class, in the art of the situation has changed, this time the sacrificial ceremony is no longer universal festival song and dance, it became just the slave masters and aristocrats of the exclusive, the first to pass the world to his son, Yu, when he succeeded in ruling the water, did the tribal alliance after the leader, immediately "ordered Gaotao as the summer furnace into the nine to show its success! "See Lu Shi Chun Qiu. Ancient Music" Here the music and dance had begun to lose its universal significance and had become a means of boasting of one's personal achievements. Yu's son Kai also learned this from him, using song and dance to boast and to decorate his own majesty. According to legend, he went up to heaven three times and stole the songs and dances of the Nine Strokes (i.e., the Nine Shao) from heaven, and performed them in the "Wilderness of Damu". From then on, slave owners and nobles used the songs and dances that belonged to all people to glorify their own virtues, and in the chapter of "Lü Shi Chun Qiu. Ancient Music" says: "Tang Nai ordered Yi Yin to sing "Morning Dew" as "Da Wu" and to repair "Nine strokes" and "Six columns" in order to show his goodness. The dance of "Dawu" is to praise the Zhou King Wu and the Duke of Zhou to destroy the Shang Dynasty and put down the slave rebellion of the martial arts, this is the so-called "martial arts dance" it is to hold a shield and weapons and dance, and to praise the ruler of the Zhou Dynasty how to rule the country in order, how the world is at peace with the "Shao Dance," which is known as the "Wen Dance This is called the "Wen Dance".
Now from the "Historical Records. Book of Music" to quote a paragraph on the "Dawu" dance is recorded as follows:
Bin Mou Jia served sitting in Confucius, Confucius and the words, and music ...... son said: "...... the music, the elephant into the person is also, the total dry and the mountain stand, King Wu The thing is also, the development and vigor, Taigong's will is also, the martial chaos are sitting, Zhou Zhao's rule is also, and Fu "Wu", the beginning of the north out, and then into the destruction of the Shang, three into the south, four into the south of the country is the border, five into the division of the narrow. Duke of Zhou left, Duke of Zhao right, six into the re-supply, to honor the Son of God, clamping vibration and four伐, Sheng Wei in China, also, sub-clamp
and into the matter of fleas and also, long standing in the suffix, to wait for the will of the vassals."
From this explanation of the dance of Dawu, it is clear that it contains a story, and although the dance is not enough to express its content, the tendency to act out the story is there.
(3) Western Song and Dance said, Chen Village, Huo Xuchu "on the Western Song and Dance Theatre," pointed out that: between the Han and Tang dynasties, with the East and West of the opening up of transportation, economic and cultural exchanges are frequent, one of the Western culture and art - Song and Dance Theatre, gradually imported into the Central Plains, became one of the important sources of our drama. Whether it is the Han Dynasty's opera, the Tang Dynasty's music and dance, Western components accounted for a considerable proportion, especially in the Tang Dynasty, the factors of the drama infiltrated into the music and dance, Western song and dance drama and the integration of traditional Chinese drama, not only appeared in the Tang Dynasty, the flourishing variety of song and dance drama, and the later generations of the theater has a very far-reaching impact, our scholars, Mr. Ren Bantang pointed out that: the Tang Dynasty song and dance drama "vertical take over the origins of the Han, Jin, North and South Dynasties, the horizontal color of the Chinese drama, and the Chinese opera. Mr. Ren Bantang, a scholar in China, pointed out that the Tang dynasty song and dance opera "took on the vertical side of the Han, Jin, North and South Dynasties, and the horizontal side of the color of the Western region of the mood of song and dance theater" more than half a century ago, Mr. Xu Dishan elaborated on the Six Dynasties, such as the Western region of the Guzi, Kanguo, etc. and the east of the Islamic or Indian music and dance, and there is a "miscellaneous opera" also entered the Middle Kingdom
The insights of the.
On the song and dance theater in the Tang Dynasty, the Old Tang Book. Music Zhi" contains: song and dance theater has a big face, dial head, step shake mother, cave base child theater. Mr. Ren Bantang believes that all Tang Dynasty "haiku song and dance miscellany" are song and dance play. He also pointed out in the "Tang opera" chapter two "song and dance theater in general": "once the content of the story, or skills involved in speech, although the record is brief, the performance is vague. Also not considered song and dance theater can not." Belonging to the Western Song and Dance Theater, "The Old Tang Dynasty Book" only cited "dial, head" a play, said "dial head out of the West, the Hu people for the beasts devoured, his son begged the beasts to kill, this dance to like it." Any half of the pond test song and dance play, involving a lot of drama influenced by the West, clearly pointed out for the Western Song and Dance Theater "dramatization" of the "Xiliang Kabuki", "Sumojia", "Sharifa", etc., and the "theater body" includes "Botou" and "Getting Brahmins", etc. "Sumoji" is the name of the theater that is used in the western region. Sumojia" is a representative of the Western Song and Dance Theater in a play, Sumojia records, to Tang Huilin "all the sutra sound meaning" 41 for details: Sumojia, Xijong Hu language, is also known as the cloud ZaMoJia, this play out of the Western Guzi country, still have this song, this country HunTuo, big face, dial head and so on, or for the face of the animal or like the ghosts and gods, fake as a All kinds of mask shape, with mud and water dipping leaching pedestrians, or holding a rope with a hook, catching people play, the beginning of July every year, the public line of this play, seven days to stop. It is said in the local custom that this method is often used to avoid aversion and to drive away the plague of Rakshasa's evil ghosts eating the people." Sumojia, also known as splash cold Hu play, from the literature, Sumojia in the Central Plains, mostly for the entertainment of the rulers, since the Northern 'Zhou Xuan Emperor Da Xiangyuan year to the Tang Xuanzong Kai Yuan Yuan see more than 130 years, often listed as a program for play and enjoyment of the court, which naturally undergoes countless transformations and changes with the political winds and clouds. The clearest example is the Tang zhongzong zhong shuwang zhang said for casting zhongzong like "splash cold hu play" good, make "sumo jia" song speech five, each speech after the chorus of "billion long live." The same one said, to xuanzong kaiyuanyuan year, but also said: "splash cold hu opera unheard of allusion, naked barefoot, shengde what to see, waving the water to catch the mud, loss of face is very much." Seek to prohibit this play, Xuanzong loved the music and dance of all ethnic groups, because of political needs is the reverence for Taoism, to Tianbao years, the implementation of the "change the Buddha for the Tao" "change the hu for han" policy, splash cold hu opera was banned, but Su Mojia's card was retained, the Tang court splash cold hu opera, highlighting the "dedication to the wishes of the Chinese people". Highlighted the "dedication to celebrate the birthday of the eternal celebration of ten thousand years," "Yi state to submit" political sermon and play atmosphere, the folk content, the Western region of life connotation completely erased. Therefore, the Sumo Chai song and dance play only from the historical records to study and analyze is not desirable, "Sumo Chai" in the water dipping leaching pedestrians, for the Persian folk worship of the immortal God's activities, water symbolizes the "Sumo" holy water. Zhang said that the third song of the song of Sumo Chai oil bag to obtain the water of the river in the sky, will be added to the life of the cup of ten thousand years, a hundred million years," the sentence, is not it with the "Sumo" the meaning of the wine of immortality corroborated? It can be seen that the water leaching is the most crucial plot of Sumo Chai, the essence of the play, but also the basis of the original form of the play, so in the dissemination of the variations of the additions and deletions, but the core of the plot has always been retained.
"Sumojia" performers wear various kinds of masks, which is another characteristic of this opera. Youyang Miscellany Chopping Block" in the "and dress dog head, monkey face" are clearly recorded Guezi "Sumojia" song and dance opera mask performance, masks both characterization of the play, but also the interpretation of the content of the means for the dramatization of the important symbols of the Guezi The diversification of masks of "Sumojia" shows that the development of the theater, that is, the development and maturity of the function of edification "can touch people". According to
All Scriptures Sound and Meaning, Guezi masks to perform the form of theater, in addition to the Sumojia, there are "big face", "hunde", "dial the head", about the "big face", "big face", "hunde", "dial the head", "big face", "big face", "big face", "big face". "big face", the name of the play in Tang Dynasty, "King of Lanling", big face is the mask of the name, "big face out of the Northern Qi, King of Lanling Changgong talented martial arts and the face of the United States, often with a false face to the enemy, tasted the Zhou Division Jinyong under the city, the courage of the three armies, the Qi Zhuang, this dance, in order to effect its command of the strike, and the masks, and the masks, and the masks, and the masks, and the masks. This dance, in order to effect its command to hit the stabbing of the face, called the Lanling King into the battlefield song.
The plot of "The King of Lanling" mainly celebrates the "commanding stabbing face." The masked character costume, of course, is not just a dance, but a dramatic performance. "King of Lanling" big face is affected by the Western region and according to the Western region of the big face known as song and dance theater, scholars have long argued. Mr. Wang Guowei once said, "If the name of the opera is a translation of the same sound, and the opera originated in the country of Dandu, or entered China from the country of Guzi, then it should not have existed after the Sui and Tang dynasties, or during the time of the Northern Qi Dynasty, and "The King of Lanling" and "Treading Niang" were imitated by the first one." In the Tang Dynasty, Cui Lingqin's "Records of the Teachers' Workshop" recorded "Treading on the Shaking Nyonya" as follows: A man surnamed Su in the Northern Qi Dynasty, who did not serve in the government but called himself Langzhong, was addicted to drinking and drunkenness, and he would beat his wife whenever he was drunk, and she complained about his wife's sadness to the neighbors, and was then discarded by people of that time. Husband dressed in women's clothing, Xu step into the field, line song, every iteration, the bystanders and the cloud: "Tap rock and come! Tap Rock Niang Bitter and Come!"
Therefore, this is called "Tap Rhyme"; it is called injustice, so it is said to be bitter. The first time I saw this, it was a song about a man who was in a fight with his husband. This is not just a dance, but a song and dance theater.
Second, the wizard said
China's prevalent in the Zhou Dynasty wax rituals, sacrificial rituals in a dramatic one. This said earlier in the Song Su Shi "Dongpo Lin Zhi" (Volume II) eight wax, three generations of the play rituals, the end of the year to gather the play, the human condition of the unavoidable, because attached to the rituals, also said that not play only, the sacrifice must have a body, no body said "Dien" ...... this wax called the "Sacrifice" cover has a corpse, cat, tiger's body, who should be for it? The deer and the woman, who should be for it? The first thing I want to do is to make sure that I have a good understanding of what I'm doing and how I'm doing.
"Ge
With hazelnut staff" to mourning old, things; "yellow crown" "straw hat" to honor the wild costume, all the way to play.
Ming Yang Shen in the "Shengan set" (Volume 44) for the Chu speech of the "Nine Songs" that "the rise of women's music, the wizard by the wizard ...... view of the Chu speech of the "Nine Songs" said that the witch to please the gods, the clothes and the state of mind and today's advocate of what is the difference! Wang Guowei in the "Song and Yuan Opera Examination" proposed: the rise of song and dance, which began in the ancient witch? The rise of the witch is also covered in the ancient times. The Chu language ":" the ancient people God is not mixed, the people of the essence of the refreshing does not carry two people, and can Qi SuZhouZhiZheng ...... so, then the bright God descended. In the male is said to wizard, in the female is said to witch, and the decline of the Shao Gao, Jiu Li chaotic Germany, Ming God mixed, not square things. Mrs. for enjoyment, home for witch history". Witch of God, must use song and dance. He believes that the ancient wizards are singing and dancing to entertain the ghosts and gods as a profession, at the same time, the ancient sacrifices to the ghosts and gods to be dressed up as "Lingbao" or "corpse" as the gods and ghosts rely on the entity, then dressed up as "Lingbao" is also known as the witch. "He concluded that 'among the wizards, there must be those who look like the clothes and movements of the gods." This practice was the 'germ of the later theater'. Wang Guowei thought that "the later generations of theater, when from the witch, you two out".
WEN Yiduo in "What is the Nine Songs" that: "Strictly speaking, 2,000 years ago, the people of the era of the Chu Rhetoric of the Nine Songs of the attitude, there is no difference, the same is to appreciate the arts, the difference is that they are in front of the altar to watch the drama - a prototype of the song and dance theater. We, on the other hand, can only appreciate the words of the songs in the play on paper." He also "interpreted" the Nine Songs as a large-scale song and dance drama. Dong Kang, "Summary of the General Catalog of the Sea of Songs. Preface": "opera from the ancient countryside Nuo" Nuo is an ancient ritual by the ghosts tend to epidemic, especially in the annual New Year's Eve is the most grand, the dancers are wearing masks.
"Wizard" and "religious rituals" are similar. Earlier systematic discussion of Chinese drama originated in the "religious rituals" is the British Oxford University Professor Peter Long's "Chinese drama originated in religious rituals," an article, he believes that: "in China, as in any part of the world, religious rituals at any time, including the modern era, may be developed into theater, the various factors that determine the development of the drama, do not have to decide. The various factors determining the development of the theater need not be traced to the distant past; they are still active today." Zhou Yude in 〈Chinese opera and Chinese religion〉: the primitive religion opened up the source of opera, pre-Qin religion nurtured the embryo of opera, Qin and Han religion produced the embryo of opera, a more systematic discussion of the role of religion in the stage of opera.
Third, haiku said
"Spring and Autumn and Warring States haiku, such as Jin's You Shi, Chu's You Meng, both for the origin of the drama. Gu to song and dance and banter for the matter, not yet acted historical stories. Since the Han Dynasty, it began to be performed. Down to the North and South Dynasties, so the song and dance to play a matter, but the facts to simple, only the outline of the drama, called the play, not as good as the dance is also called. "(From the folklorist Huang Xianfen:" Tang Dynasty Social Overview ", Commercial Press, March 1936, first edition)
Fourth, the puppet said
This is said in Sun Kai Di "puppet theater source", he will be the source of puppet theater to the Western Zhou Nuo rituals in the square phase of the wearer's "gold four-eye "mask, because Fang Xiangyi is decorated with real people, and funeral home funeral every use Fang Xiang's first bier to open the way, by the connection to the" Old Tang Dynasty Book． Music contained in the "Cave base son": "as a puppet to play, good song and dance, this funeral music, the end of Han began to be used for the Ka Hui" and other words, is recognized that the puppet show that is by the Fang Xiang's epidemiological metamorphosis. However, because Fang Xiang's system is decorated with real people, so it was concluded that "contemporary puppetry has two schools: one is decorated with real people, and the other is played by dummies, both of which are different in nature, and both are called puppets." The book also said, "Yu this article, to the Song puppet theater, shadow play as the main, that the Song and Yuan since the drama from the play, and even after all the drama, are derived from this.
Fifth, outside to say
Xu Dishan's "Sanskrit drama style and its bottom of the Chinese opera on the dots and dashes" from the Chinese and Indian theater content and expression of the **** from the conclusion: "Chinese theater changes in the bottom of the stereotypes if not because of the influence of India, can be regarded as coincidental to match the bottom of the situation of the two countries." Zheng Zhenduo's illustrated History of Chinese Literature, Ji Xianlin's Comparative Literature and Folk Literature all hold this view.
Six, folk said
Tang Wenbiao in the history of ancient Chinese drama that: "I think that the main origin of Chinese drama from the folk, the ancient drama so late, so mixed with a myriad of folk arts and crafts, its popular content and popular tone shape, its mediocre ideas, humane themes, it is the reason with the world of the Greek tragedy and the Indian Sanskrit drama, the big difference, entirely because of its common content and mass tone shape, it is with the world of the Greek tragedy and Indian Sanskrit drama The reason why it differs greatly from the Greek tragedies and Indian Sanskrit dramas of the world is entirely due to the fact that it comes from the people, and takes the entertainment and leisure of the common people as its first point of emphasis, and therefore its maturity has to wait for the result of the evolution of the Chinese agricultural society. The Song Dynasty saw the emergence of a concrete and micro-mass civil society."
VII. Literary theory
This theory believes that literature is the important factor that induced the occurrence of Chinese drama, of which there are the following different views:
1. Lecture and singing literature. Ren Guangwei "Northern Song Meilian play analysis" cloud: "Chinese opera art is a synthesis of many types of art, it is necessary to produce a variety of factors of maturity, but which plays a decisive role in the literature, the Northern Song Dynasty, large-scale miscellaneous plays, from the literature of the rap".
2, Huang Tianji in the "origin of Chinese drama seminar" on the speech, Yun: "talk about Chinese drama can not be separated from the narrative factor ...... Dunhuang change text is an important factor in inducing the drama. ...... examined in detail, it is actually a very coarse source of Chinese drama."
3, since the novel off the said. Liu Hui in Urumqi City, "the origins of Chinese theater seminar" on the speech cloud: "the origin of Chinese opera and Chinese religion, folklore, song and dance, especially rap has a close relationship ...... Chinese opera and novels are distinguished, it must be in the first person and not in the first person, but in the first person. Must be performed in the first person rather than in the third person, without this, can not talk about the Chinese opera, there must be role behavior, without this, is not opera".
Eight, the cradle of the hundred plays said
Zhu Zhaonian, Peng Longxing "hundred plays is the cradle of the formation of Chinese opera," a book with the cloud: "Theater is in the middle of the 'hundred plays' nurturing the formation of the "Angle billy goat theater" and is the mother body that directly nurtures the theater. Wu Guoqin in the "Washu culture and the formation of Chinese drama" clearly said: "I think that the formation of opera in the Han Dynasty, in the Han Dynasty, there has been a drama entity in the hundred plays, like the "East China Sea Huang Gong", "the General Association of Immortal Singing" this kind of program is the early stage of the drama, they are a kind of theater performances, actors and actresses, stories throughout, with the participation of the audience. Zhang Heng "Xijing Fu" is recorded as follows: East China Sea Huang Gong, red knife Yue Zhu, leaning on hate (ambush) White Tiger, pawns can not be saved, narrow evil as a cup, so not for sale. East Jin Ge Hong's "Xijing Miscellany" is also recorded: there is the East China Sea, Huang Gong, a young man for the art, can control snakes and tigers ...... The end of the Qin Dynasty, there is a white tiger in the East China Sea, Huang Gong is a red knife to hate (ambush). The art is not working, is killed by the tiger. Commonly used as a play, the Han Emperor also took as a horn billy goat play. Donghai Huang Gong performance form of angle billy goat play, the actor by wearing a white tiger mask for wrestling sumo performance story, it is obviously not a simple athletic competition, but the "play", because the angle billy goat is completed in the theater provisions of the scenario, the winners and losers have long been determined. Hundred plays in the Han Dynasty, also known as scattered music, is a general term for the folk performances of songs and dances, opera, acrobatics and juggling programs at that time. Opera was conceived in this "hundred plays" performance environment, it absorbed the strengths of various sister arts, in the mother to form their own genes.
The Birth of Chinese Theater
China does not have a tradition of "drama" by Western definition. However, when discussing Chinese theater, the ancient Chinese opera should be classified as drama, if not by strict definition.
The roots of Chinese opera can be traced back to the witch rituals of the pre-Qin and Han Dynasties, but it was only with the development of the Southern Opera in the Song Dynasty that a complete theater text was created. The earliest surviving ancient Chinese theater script is Zhang Xie Scholar from the Southern Song Dynasty. During the Yuan Dynasty, centered on the cities of Dadu, Pingyang, and Hangzhou, Yuan miscellaneous operas made a big splash. Later generations formed many forms of opera, or various genres. After the development of the Kunqu in the Ming Dynasty, it was firstly sought after and loved by the scholarly greats, who created a large number of plays and constantly revised the scores, as well as amending the theater theory of Kunqu, and making the legendary plays a new mainstream literary form. Subsequently, kunqu was loved by the court royal family in the late Ming and Qing dynasties, and became part of the life of the aristocrats, and became an officially recognized theatrical art, so it was called "elegant"; and the local plays based on local dialects, which were widely loved by the people, were called "flower". So in the Qing Dynasty formed a "flower elegant dispute", in fact, is the opera *** with the prosperity of the situation. This has enriched the categories of opera art, but also formed their own artistic characteristics.
In recent years, Taiwan's theater research scholar Zeng Yongyi put forward a set of statements that in the discussion of the origin of Chinese theater, we should distinguish between the "big play" and the "small play", the big play is a mature opera, while the small play is the prototype of the theater. The big opera was developed and completed only after the Jin and Yuan miscellaneous operas, while the previous Song miscellaneous operas, the Tang Dynasty's Dai Mian, Tap Shake Niang, Bowtie, Senjun Opera, Fan Kuai Raijun Difficulty and so on, can be included in the ranks of the small opera, and the Chinese in the very early days, there are small operas.
Before China had cultural contact with the modern West, there was no tradition of "theater" (mainly drama) in the Western sense. The traditional Chinese theater was a kind of drama with a plot, "acting out a story with songs and dances", a comprehensive art form combining music, singing, dancing, martial arts and acrobatics, and so on, that is to say, opera and music.
Drama as literature
The text of the play (i.e., the "script") is the basic element of a play, and is a prerequisite for a play.
The most important thing about a script is that it can be performed on stage. The text of the play is not considered to be the completion of the art, and it is not until after the stage performance (the "performance text") that the final art is presented. Throughout the ages, there have been literati who have written plays that are not suitable for the stage, or even cannot be performed at all. Such texts are called "desk plays" (also known as "book plays") (a famous example is Oscar Wilde's poetic play Salome). Examples of performances without scripts also occur in modern theater.
The literary text of a play, in its unperformed state, can be appreciated as a separate literary style.
Drama as a performing art
With the practice of modern Western theater in the system of directing and actor training, theater theory gradually expanded from the discussion of the text of the play to the theater as a whole, resulting in new concepts, such as "scene scheduling". One of the more famous references is the idea put forward by British theater director Peter Brook in his monograph The Empty Space in the 1970s: "An actor walks across an empty stage, and that's all there is to a play.
Types of Drama
According to the size of the capacity, dramatic literature can be divided into multi-acts, one-acts and sketches;
According to the form of expression, it can be divided into plays, operas, poems, dance dramas, operas, etc.
According to the theme, it can be divided into mythological dramas, historical dramas, legendary dramas, civic dramas, social dramas, family dramas, science fiction dramas, etc.
According to the nature and effect of the drama The nature and effect of the conflict can be divided into tragedy, comedy and drama.
But the most basic and most used classifications are tragedy, comedy and positive drama, in which tragedy appeared earlier than comedy, and positive drama is also called tragic-comedy.
Tragedy: the essence of the conflict: "the inevitable demands of history and the practical impossibility of realizing this demand". The aesthetic value of tragedy: "the destruction of the valuable things of life for people to see".
Comedy: the aesthetic value: "to tear down the worthlessness of life".
Positive drama: "a deeper way of reconciling tragedy and comedy into a new whole".