Research On Opera Activities And Creation In Changzhou In The Late Ming And Early Qing Dynasties

This dissertation takes drama related activities and creation during the period of late Ming and early Qing (the Wanli 30th year 1602- the Kangxi 61st 1722) in one government and five countries of Changzhou area (Wujin, Wuxi, Yixing, Jiangyin and Jingjiang) as its research object. Based on the comprehensive overview of drama activities on social and cultural backgrounds, dramatist activities, spreading and contents producing, etc., with proved analysis on the representative dramatist and their works within this area, by comparison with those of beyond region, considered the multiple cultural mechanisms to form drama activities, this thesis unfolded an original picture of drama activities in Changzhou area and made efforts to explore the principles for drama to survive and thrive.This dissertation can be divided into two main parts. One is the general demonstrating part, the other is focused on dramatist case study, each one is consisted of four chapters.The Comprehensive part studied the drama activities in Changzhou area during late Ming and early Qing dynasty by several specific sub-topics. Introduction chapter (Chapter one), mainly reviewed the background of drama activities in Changzhou during this period, with local history, cultural development, social activities and its relationship with the drama activities stated, it gave the formation and development of drama with political, economic, social, cultural and geographic features support. Chapter two was about dramatists study in Changzhou area during late Ming and early Qing dynasty. It stated that dramatists in that period mainly came out of local cultural family. The accumulation of family learning helped with the improvement of dramatists'comprehensive quality and thus ensured the quality of regional drama activities. There was no doubt that family's political orientation affected the trends of drama development. Secondly, the entertainment gathering, association, cultural and commercial performance helped the formation and development of dramatists group. There were also interaction among singers, professional artists and dramatist's composing style and orientation. Meanwhile, the composer attitude is also the subject to dominate the drama construction and artistic choice. Chapter three discussed the drama spread of the late Ming and early Qing in Changzhou. Viewed from performance communication and script spread, it pointed that drama spread in Changzhou during late Ming and early Qing dynasty did not escape the traditional limitations, but there were geographical features in specific performing forms and focus level. The celebrities there, being the main role of drama activities, placed a significant role in the drama transmission. Chapter four did comparative study on drama activities of late Ming and early Qing dynasty in Changzhou. The characteristics of Wu culture, which is soft outside and strong inside with modest and stocky, influenced the trend of regional drama activities. With regional drama activities studied comparatively, it showed a geographical feature of differentiation inside of unity. Comparison with drama activities in neighboring Nanjing and Suzhou, it pointed out the character of "automorphic" and "compatible", "elegant" and "conventional".The second part is an independent research which used the method from group to individual, from common to the personality, focused on the important dramatists and drama works of the late Ming and early Qing Dynasty in Changzhou area. Chapter one is on Wu Bing, Wan Shu and Gu Cai, the three gifted dramatists, demonstrated the art of continuity in their legendary subject, literary charm and Guan Mu arrangements. Chapter two is on "Opera Three Sets", it's the collection of Changzhou dramatists group and their creation, noted that most of their works were for the lyric writing of anger and self concern which the literatures attitude expression was prior to the concern of home and country. Chapter three illustrated overall the adherent identity and drama creation of the Nan Shan Yi Shi Chen Yu Ding, stated that when comparing with other composers'works in same region, his drama creation possessed more dense sorrow and critical spirit, and showed an foreordination of self-interpretation in worldly love affairs. Chapter four selected composer dramatist Ji yongren as research object, with his particular life experiences and drama works viewed, to discuss his legendary Dream ofYangzhou which combining the life idea of imperial court debates and battlefield life, integrating the expectation to love and hate, mixing the natural country life experience, showed the true mind of the lower class scribe and strong style of civic life. The drama "added Li Sao" which inherited the artistic qualities of "Si Sheng Yuan", by singing and crying, laughing and cursing, marked the complete transformation from supporting staff to justice person.