A Study On The Evolution Of Performance Of Kun Opera

The purpose of this dissertation is to analyze the evolution of Kun opera's performance,and trying to summarize some common contents of the evolution of Kun opera' s performance.Especially in the current,Kun Opera has an complex identity which is mixed by "intangible cultural heritage" and the contemporary performing art.The study on the evolution,aesthetic character of Kun opera might help us to grasp the core characteristics and artistic value,and then examine if the contemporary protection for it is reasonable and effective.The content of this dissertation can be divided into four parts:The first chapter from the view of the performing arts of Kun opera as a whole to do a clear understanding of why it became the most comprehensive Chinese performance art.According to the first chapter,which clarifies the historical background and the historical status of Kun opera,the second chapter to the fifth chapter discuss the evolution of Kun opera's performance,with the natural evolution of time as the meridian,and the key node of the development of Kun opera for the weft.The second chapter mainly elaborates the "richness" characteristic of the performance of Kun opera,and also makes a combing of the evolution of Kun opera before the middle time of Qing dynasty.This chapter is divided into two sections: the first one discusses the impact of the popular era of Kun opera on the development of its performance.In the second section,we mainly discuss the historical background and the process of the transformation of the performance mode of Kun opera.The third chapter focuses on the the standard of Kun opera's performance,which is named as "Qianjia tradition".The first section of this chapter focuses on the history,politics and art causes of its development in the middle time of Qing dynasty,and the important role played by the “Excerpts”.In the second section,taking the performance of "Peony Pavilion" as an example,I analyze the artistic characteristics of "Qianjia tradition" which is specialized by the feature of "vividness".The fourth chapter continues to take the historical time as the line,concentrateson the inheritance characteristic of Kun opera's performance,which is "play with the human".This chapter is divided into two sections: the first one discusses Kun Opera how to survive with the competition from other younger theaters in the period from late Qing dynasty to the Republic of China.The second section discusses the new track of the evolution of Kun opera's performance,which is under the influence of the new art policy in this period.In the chapter 5,I once again turned to the macro perspective,and try to explore the list of "non-left" list,and the evolution of contemporary Kun opera's performance,compared with the previous.This chapter is divided into two sections: the first section to Kun opera's professional mission of the actual heritage work as the object of study,analysis of "non-left" identity on the Kun opera performing arts produced what role;The second one discuss from the negative perspective about if in the "Intangible heritage" aura,there is some "hidden loss" occurred in the inheritance of contemporary Kun opera.Finally,as a summary and extension of the full text,on the previous analysis on the history of Kun opera's performance,this chapter mainly try to put forward some personal thoughts on the problems in the inheritance of contemporary Kun opera's performance.