Li Yu's Operatic Structure Theory And Creation

As the representative of ancient Chinese opera in its prosperous period, Li Yu not only set up the performance-oriented opera theory from the theoretical perspective, but also unfolded the comprehensive characteristics of ancient Chinese opera perfectly through the combination of the opera theory with practice, which presented a omni-directional and tridimensional view. His opera theory was summarized from the perspectives of stage, literature, rhythm and so on. The concept of structure, the most important factor in opera creation for stage performance, is the key concept throughout Li Yu's opera theory.This article attempts to study Li Yu's opera theory from the concept of structure. Based on the methods of "setting up a trigger plot", "concentrating the needlework", and "simplifying the clues", we are trying to recollect those scattering theories in Sketches of Idle Pleasure in order to renew his original structural theory. Also through the tridimensional study of his operatic structure by correlating to the text of Ten Play, we are trying to get the characteristics of his opera theory. At last, we are going to recognize the significance of his operatic structure theory in the development of Chinese Opera in the late Ming and early Qing dynasty synchronically and diachronically.This article includes five parts:introduction, Chapter One, Chapter Two, Chapter Three and further discourses. Introduction:this part defines the theory of Li Yu's operatic structure, outlines the researches of Li Yu's opera theory and opera works, and proposes the significance and the structure of this paper.Chapter One:this chapter explores the characteristics of Li Yu's operatic structure theory mainly from the aspects of "setting up a trigger plot", "concentrating the needlework", and "simplifying the clues". It reorganizes the related viewpoints in Sketches of Idle Pleasure, displays the comprehensive characteristics of Li Yu's operatic structure theory and then states the significance of his theory.Chapter Two:this chapter explores Li Yu's operatic structure theory by analyzing his representative texts of Feng-Zheng-Wu, Qiao-Tuan-Yuan, Bi-Mu-Yu. It excavates the difference between Li Yu's creation and its theory, and summarizes the reasons for this phenomenon.Chapter Three:this chapter explores the origin, development and influence of Li Yu's operatic structure theory through the comparison with dramatists in the late Ming and early Qing dynasty and then states the significance of his theory.Further Discourses:it explores the essence of variety and innovation of Li Yu's operas from" being against ridiculousness" and points out the importance of variety.