Characteristics Of Modern Chinese Opera Literature Historical Survey (1920 Year - 1949)

A Historical Study on the Characteristics of Production of Opera Literature in Neoteric China (1920-1949) may not only review the history of opera literature in China, make a general conclusionfor the China’s opera literature production, creatively establish the necessary pretext and basisfor the theoretic framework of opera literature, but also make the overall production of operasin China increasingly rationalized in terms of conception, and play a positive role in theproduction practice of contemporary opera literature.Historically depicting the rise, formation and development of Neoteric China’s opera andusing the theories and methodology of opera ontology analysis, this paper analyzes theindividual model operas of different types of operas in the context of other operas of the sametype during the same period of time, carrying out a technical analysis the comprehensivestatus, characteristics, artistic achievements and problems of the production of neotericChina’s opera literature and the dramaticism and music character in it, which is the majortheme of this paper. This paper discusses the children’s musicals of Li Jinhui in the1920swhich laid the foundation of China’s opera literature production, and other forms of musicalsin the1920s, different types and styles of opera literature in the1930s, including WangZhaojun which marked the founding of China’s solemn opera and The Storm of Yangtze Riverwhich is featured by its combination of drama play and singing, opera literature in Yangkofolk dance and the large-scale Yanko musicals transformed out of it, the literature form of QiuZi, the first comprehensive formal opera in the history of neoteric China’s opera literatureproduction, as well as the new opera literature represented by White Hair Girl. These operaliterature are analyzed in terms of dramaticism, music character and aesthetic features, whichcover the drama structure, organizational method, typology, form of style, choice of theme,plot designing, role arrangement, relationship between persons, personal characters, emotioncomplication, image shaping, dramatic gestures, antinomy, scene setting, opera climax, musicand poem distribution, language specialty, function of music, method of mixing Westernopera literature with Chinese opera literature, the core role of musician in producing scenario,ascertaining producer and type of opera, producer’s scenario ideas, production phenomenon,and ideals of opera, etc. Apart from that, this paper also uses historical analysis method to study these representative pieces of opera literature in the context of the overall developmenthistory and process of neoteric China’s opera literature production, so as to, throughcomparison with other opera literature in the same period or other periods, seek to discovertheir mutual relationship in terms of artistic theories, organizational means, mode of display,and aesthetic characteristics, and to portray the historic track of the formation anddevelopment of the opera literature of China in the said period of time, thus enabling aconcluding evaluation and determination of those operas’ artistic value and historicalinfluence. This paper finally offers a comprehensive comment from the perspectives of artisticachievements and historic influence on China’s opera literature production in the said periodof time and its development history.