A Study On Opera Activities Of Chiang-nan Folklore In Ming-qing Dynasty

Folklore and opera have the same origin,they support and develop each other.To some extent,the production,development,and decline of Chinese opera was deeply influenced by folk culture.During the Ming-Qing dynasty,Chiang-Nan's economic and social development were at the leading position in the country,folk culture and various kinds of folklore were very prosperous,the traditional opera had entered prosperity and maturity at the same time.From Southern opera to Legend,especially the popularity of the Kunqu opera and the Knot opera,the Chiang-Nan opera led the traditional opera for hundreds of years,and achieved the glory of Chinese opera,the development of the opera was influenced by the folk culture deeply.During Ming-Qing dynasty,the breeding,dissemination,and the origin of sound cavity of Chiang-Nan'opera were all infiltrated by folk customs and folklore.The folklore events related to opera activities had brought important influence on the development of opera.Chiang-Nan's opera activities involve many folklores in the daily life of the people,in the folklore occasions such as religious beliefs,festivals,life etiquette,and entertainment feasts,the opera performed in temples,courtyards,halls,tea houses and other places.Not only that,In the custom of opera performance,the details such as beliefs and taboos,opening and closing of the stage,delivery and sealing were also influenced by folklore.This paper explores the various changes in opera performances by sketching the folklore clues of opera performances,expounds the various responses and acceptances of opera to folklore events.The Nuo reflected the relationship between early folklore and opera,in order to better reveal the homology and evolution of folklore and opera,this paper uses the Nuo of Chiang-Nan as a case to study,inspects the type,development,and folklore occasions of opera performances.On the basis of analyzing of the main Nuo opera in Chiang-Nan,such as Huaiyang Xianghuo opera,Nantong Tongzi opera and Liyang Nuo dance,further analysis of the variability of Nuo in Chiang-Nan.It is believed that the variation of Chiang-Nan's Nuo mainly includes the characteristics of thematic diversification,time mobility,complications of psychic pedigree,and content entertainment.The relationship between folklore and drama was intricate,folklore in Chiang-Nan provided important support for the gestation,maturation and spread of opera.It is generally believed that after the pure opera,there were generally similar opera,different forms of similar opera in the folklore of Chiang-Nan were mixed in the folk culture life,it embodied the relationship between folk and opera.This not only satisfied the needs of the people's daily cultural life,but also had important significance for the gestation,spreading and inheritance of many operas in Chiang-Nan.Taking the similar opera phenomenon in the folklore of Chiang-Nan as a case to examine the opera,it is possible to explore the relationship between folklore and opera performance in a broader sense.This paper explains folklore and opera in the cultural interface,so as to obtain the cultural care of folklore and drama.From the perspective of social culture,there were inextricable links between the origin of folklore and opera,folklore atmosphere and opera performances,folk events and opera performances,and opera forms,etc.Folklore had multiple effects on opera.In particular,the folk custom promoted the production of the opera highlights,which led to the development of the Chiang-Nan's opera in Ming-Qing dynasty.The folklore of Chiang-Nan in Ming-Qing dynasty had a close connection with opera,the prosperity and maturity of opera had been deeply influenced by the folklore,folklore and opera together constituted a beautiful landscape of Chiang-Nan social culture.