Research On Uygur Drama

As a representative of the local drama in Xinjiang Uygur Autonomous Region, Uygur drama has developed a school of its own in China’s theatrical circles with its unique character. Uygur drama deserves a in-depth study in its ontology, national culture and art aesthetic.This paper, for the first time, analyzes and explores the formation, history, ontology, works of Uygur drama systematically.Based on the traditional drama culture of Uygur, Uygur drama has been absorbing excellent cultures from other nationalities. Traditional culture of Uygur is the internal condition for the formation of Uygur drama. Folk vocal art forms and folk epics, folk dances and "Twelve Muqum", folk activities and "Meshrep" constitute the important factors of Uygur drama and are spreading fields as well. Drama cultures in the neighboring countries and nations, and "Drama Movement" during the Anti-Japanese War are the external conditions of Uygur drama’s birth. Starting from Aliph and Salam in the1930s, Uygur drama has experienced a period from weakness to strength, such as tortuous developments from the foundation of New China to "cultural revolution", the prosperity and innovation from1980s to1990s, and depression and revitalization after1990s. Uygur drama is integrated with national, local, aesthetic characteristics, which is unique in its rich play systems and works, art forms combined with "poems, music, dances and vocal forms," performance styles of singing and dancing, special composition of "unique music with different lyrics", Uygur way of singing, Uygur musical instruments, and settings of Uygur customs and localization on the stage.With the help of theories of religion, history, geography, and ethnology, the author employs drama theory to explore the development and factors of Uygur drama by combing references related to Uygur drama. This paper carries on a research directed at the script, music, stage and performance of Uygur drama. With a detailed analysis of representative writers and outstanding Uygur plays, the author also attempts to highlight the national and local characteristics in Uygur drama, and reveal the drama’s aesthetic meaning of "Diversity in Harmony".