Research On The Suzhou Opera In The Qianjia Period

Since Jiajing period of Ming dynasty,Mr.Wei Liangfu reformed Kunshan tune,while by means of effort of Mr.Liang Chenyu,Shen Jing,Kunqu opera became as nationwide tune.Suzhou,as the birth place of Kunshan tune,also became the most important center for opera creation and performance over the country.In late Ming dynasty,Suzhou theatrical circles got brilliant accomplishments.Though Suzhou theatrical circles in Qianlong and Jiaqing period(hereinafter referred to as Qianjia period)not notable as the one in late Ming dynasty,it got relatively outstanding achievementsin aspects of Chinese opera creation,Chinese opera critics,Chinese opera performance,Chinese opera publication.But due to little attention,the achievements are not matched comparing to Suzhou theatrical circles in Qianjia period.This article tries to show overall scene of Suzhou theatrical circles in Qianjia period from above four aspects and its interactive research.Chapter One mainly reveals the relationship between economics,culture,academics environment and Suzhou theatrical circles development in Qianjia period.In this period overall political stability,economic development and prosperous culture provided good conditions for Suzhou theatrical circles prosperity.Specifically,commodity economy prosperity in Suzhou has brought profound influence to Suzhou opera.In culture,various large scale books compiling by central government stimulated compilation activity of opera selection and music in Suzhou;high prosperity of Suzhou traditional poetry,fiction,and Tancietc popular literature an art,facilitated the opera creation.In academics,strong academics trend atmosphere of Qianjia period in Wuzhong area,prompted Suzhou theatrical circles achieved unique accomplishments in Rhyming field.Chapter Two mainly studies history factors of Suzhou opera activists of Qianjia period.On the one hand,from macroscopic angle,it reveals many common features of Suzhou opera activists in respects of family background,life and thought due to times and geography,and also discusses the influence to opera activities by these common features.On the other hand,from microscopic point,it in particular proves family background,life and social intercourse of some dramatists who are rarely studied by academics,such as dramatist Mr.Shi Yan.Additionally,it supplements and corrects some social intercourse of some dramatists,such as dramatist Mr.Shi Yunyu etc who are often studied by academics.Chapter Three mainly studies Suzhou opera creation of Qianjia period.At this period,opera writers totally created 45 pieces legends,38 kinds of miscellaneous operas,which showed exuberant creativity.The theme of legends had close relationship with Suzhou history,reality and culture,and it showed strong regional characteristics.Particularly in legends innovation,Suzhou dramatists reformed opening form,roles arrangement,Guanmu setup,language application and scene setup.Legends innovation had positive influence,that was all their legends once staged and at that time it got good performance result.But it also had drawback,that was blindly pursuing new and change,overemphasis on form and techniques,however ignoring characters shaping as well as thought depth exploring.Suzhou miscellaneous operas creation of Qianjia period also gained a lot of achievements.Yuan Dong's YuTianYueFu,Xu Xi's XieXinZaJu,Shi Yunyu's HuaJianJiuZou,all which showed common features in respects of system,contents,style,wording art,and intensively reflected unique scholar qualities of dramatists of Suzhou miscellaneous operas at Qianjia period.Furthermore,due to extensive and profound influence of ShenDeqian,Suzhou miscellaneous operas creation was inevitably influenced by ShenDeqian's poetic view at this period.Chapter Four mainly studies Suzhou opera critics of Qianjia period.XuDachun's YueFuChuanSheng is masterpiece of Chinese classic operas in singing theory aspect,mainly reflecting scholars' attention to Kunqu opera singing.At that period,the most notable was opera performance theory results--the publication of MingXinJian,from which,we not only peeps Suzhou operas performance flourishing at Qianjia period,also we know more clearly the contributions to Kunqu opera performance "Qianjia tradition" formation by artists.Besides works,commentary of Suzhou opera of Qianjia period is comparatively rich,Mr.Zhou Ang from Changshu area has Revision and Compilation of Mr.Jin Shentan Criticize the Romance of West Chamber and commentary of his friend's Crane Return Legend,Mr.Shi Yunyu's commentary 60 Kinds Melody is comparatively representative piece for operas critics.Abundant operas critics and creation reflected dramatists' views on structure,combining drama and fairy tale,and language application for operas creation.Chapter Five mainly studies Suzhou performance of Qianjia period.At that period,dramatic performances of Suzhou professional theatrical troupe was unprecedented prosperous,which has brought positive influence to orientation of drama creation,variety of drama theory critics,further improvement of roles performance system,improvement of overall art level of stage performance,and promoting drama popular,folk transformation,promoting industry standard and elevating actors status.Suzhou actors at that period included professional actor,guest performer,and brothel actor,different performance styles and their communications playing a part in Suzhou performance climax of Qianjia period.Qianjia period was a special period for Kunqu Opera and Local Operas Competing for Attention,besides Kun opera,Suzhou theatrical circles also had Kunqu opera tune,while Tanhuang play of Suzhou local opera was specially prosperous.For repertoire,traditional excerpts were very popular,but new plays also were not few.This was close relating to vigorous operas creation of Suzhou and surrounding area at Qianjia period.Suzhou operas performed in various places,such as hall and courtyard etc where scholars watching operas,which reflected scholars' interest.Open place,temple theateretc are mianly for folk idolatrous procession,which reflected folks watching modes andinterest.Due to emperor Qianlong visiting south regions of Yangtze river,the imperial carriage greetings operas also strongly promoted Suzhou folk opera activities of Qianjia period.Chapter Six mainly studies publication of Suzhou operas of Qianjia period.First it studies Suzhou operas publication from private printing and bookshop printing in a macro aspect.Secondly,with stage excerpts epitome ZhuiBaiQiu as the center,itdiscusses the era opportunity of emerge and dissemination of ZhuiBaiQiu,and its influence to theatrical circles.ZhuiBaiQiu came from Suzhou of Qianlong period,which was a combined action outcome of Suzhou as Kunqu opera camp having exceptionally goodconditions,excerpts full flourishing,consummate pure performance art,excerpts selections of Kunqu opera gradually being mature,new plays creation declining and compilers with profound opera art literacy.After its publication,wide spreading and readers group had important influence to operas creation and performance at that time.