"Zhuangzi" And Ming Dynasty Opera

The purpose of this thesis is to study "Chuang-tzu" and the Ming Dynasty drama.Because the history of Chuang-tzu's study,the literary interpretation of Chuang-tzu,and the discussion of the acceptance of Chuang-tzu's drama in Ming Dynasty are relatively simple and weak.There is also a larger space for research.In addition to the introduction and conclusion,this paper is divided into two parts:"Chuang-tzu" and the creation of Ming Dynasty drama and the drama theory of Ming Dynasty,each of which is divided into four chapters and totally eight chapters.The first chapter is the study of Chuang-tzu Drama in Ming Dynasty.Chuang-tzu Drama refers to the works with Chuang-tzu as the protagonist or the fable story as the main story plot.The Ming Dynasty was the peak period for the development of_Chuang-tzu Drama,which was related to the social background,religious development,academic factors and the author's encounter of Chuang-tzu Drama.The images of Chuang-tzu in these plays are mainly secularization,absurdity and religion.Among them,the plot of Chuang-tzu's wife is very characteristic,which reflects the male's"right to speak" and "discipline right" to women in Chinese patriarchal society.The second chapter is the dream of Chuang-tzu and the dream-related drama in Ming Dynasty.Chuang-tzu is the person who paid most attention to the dream in the pre-Qin period.Chuang-tzu's dream has both dream theory and dreamland,which not only depends on the theory of dreams,but also has a profound influence on the development of Chinese Dream's literature."Dream-related Drama" in Ming Dynasty is also included in it.Chuang-tzu's "for article writing dream" spirit,"the dream of the spirit of freedom",as well as relative,beyond the dream true magic in the theory and the desire to awaken ideas had a great influence on Ming dynasty drama,for building the writing dream dreams,beyond the dream after awakening technique provides examples of imitation and theoretical source.The third chapter is Chuang-tzu's "le" and "xian" thought and Taoism drama in Ming dynasty.Daoism drama is often required people to give up the worldly wine and money,and to achieve immortality through practice.These appeals have a great relationship with Chuang-tzu's idea of "supreme happiness" and "immortals" First of all,Chuang-tzu's thought that only "harmony with the tao" can achieve true happiness,that is,"bliss",However,to the realm of "bliss",we need to go through three stages,namely,hardship,beauty and bridge.Daoism drama has been used for reference,and has developed into three stages of renunciation,cultivation and immortality.In addition,the description of "the real person" in Chuang-tzu's "immortal" thought,the rendering of the tao and the method of its cultivation also have an influence on Taoism drama.The fourth chapter is Chuang-tzu's aesthetics and the characters of the Ming dynasty.Chuang-tzu was the first person in the history of Chinese aesthetics to clearly mark "ugliness" and deeply discuss the problem of "ugliness".Chuang-tzu elaborates on the view of beauty and ugliness,which can be divided into three categories:one is to judge the beauty and ugliness of the other,and the virtue is beautiful,not the shape;The second is the beauty and ugliness relative,can transform;There are limits to beauty and ugliness,both true and ugly.The characters of drama literature of Ming dynasty,especially as "ugly",absorb and draw lessons from Chuang-tzu's aesthetics content more,its shape in the works of the ugly inside the inner beauty,outer beauty ugly,ugly,beauty and ugliness as alienation,funny ugly,ugly image with Chuang-tzu's aesthetics interconnectedness.The fifth chapter is Chuang-tzu's "natural" aesthetics and the "nature" theory of the Ming dynasty drama.Chuang-tzu's "natural”aesthetics has the claim that "heaven and earth have great beauty but not words","simple and the world cannot compete with beauty".In Ming dynasty,the theory of drama theory inherits this aesthetic thought,especially the "natural" theory of the drama language.In Ming dynasty,the"true colors" of drama language advocated that the drama language should be kept in a natural and quietly elegant style,and opposed to excessive elaboration and embellishment.Li zhi's natural theory in Chuang-tzu observing law of naturalness and cherishing truththought is made,think the drama works should be writer to express true feelings for the premise,undecorated words,pure and fresh nature.The sixth chapter is Chuang-tzu's "affection" and the Ming dynasty drama."Love" in the Chuang-tzu has the rich connotation,Chuang-tzu's "love" can be divided into "human" in the book "days" "description" of the three different meanings,especially to the highest level of "description".His "love" is the truth and affection from the highest natural human point of view.Ming dynasty music theory combined with Chuang-tzu's theory of "the sentiment",development of the theory of "only",by tang xianzu's creation is given priority to,with "love" and "to love" crating,in the Ming dynasty drama works in creation and theory criticism has caused great repercussions.The seventh chapter is Chuang-tzu's fable and the Ming dynasty drama.The word"fable" first appeared in Chuang-tzu,and literary genre,is mainly refers to a unique way of expression in the Chuang-tzu's thoughts and their "through the theory of "by use of outstanding,we obviously embodies the story work wonders.The fable of Chuang-tzu has a great influence on the development of Chinese literature and literary theory,and as a kind of literary style,the drama is also absorbed in the fable of Chuang-tzu.The first is the early Ming dynasty,a "fable" style of ethics drama creation,these plays borrowed the form of Chuang-tzu's fable,and the ethics and morality in the play,to admonition the purpose of the world.The second is the Ming dynasty music theory "the legendary all fable",the "fable" in Chuang-tzu fables thoughts inherit and play,think drama allegory,the need when writing the actual set each other off,pay attention to the plot embodies,etc.The eighth chapter is Chuang-tzu's Taoist view and the performance theory of the Ming dynasty.Chuang-tzu's fable is a kind of the tao and technique "and unity" state and "virtual static body by" transcendental intuition thinking,after being introduced into the need both skills,also need to state of literary and artistic creation actiavities.In the Ming dynasty,the author of the song dynasty absorbed the thought and asked for the actor's performance skills.This requirement is embodied in three aspects:first,the-drama actors must perform the promotion of performing technique and the self-restraint of the performance.Secondly,the acting process of the actor should be "good at heart",which is an intuitive "witness and the way to save",relying on the actor to grasp in practice,not to say.Finally,the pursuit of "the god of the god" this drama performance of the highest realm.