On The Inheritance And Development Of Traditional Chinese Ghost Play In Modern And Contemporary Society

Based on researches by predecessors, this article is aimed at carrying outin-depth research in terms of performance of ghost play and dancing, in particular,influence on its stage exhibition of the culture of ‘ghost’. Specifically speaking, itis to mainly discuss the following three issues: development process, fundamentalfeatures and research status quo of ‘ghost play’ in contemporary China; reasonsand significance of changes in stage practice of ghost dance, in particular indancing formats, in contemporary and modern era; and foresight of development of‘ghost play’ in the present China.The research method is to carry out comparative proof through specific casesand at the same time, to seek for relevant information for proof and repletionthrough researches concerning prototype of ghost plays in China and researches onchanges, action and attires of ghost characters.Chapter one starts with connotation and appreciation positioning of ‘ghostplay’ and defines the concept and connotation of ‘ghost play’ featuring Chinesecharacteristics. In the mean while, it reveals research status quo of ‘ghost play’ inmodern and contemporary era in China after general classification on researchhistory of ‘ghost play’ since the beginning of20thcentury.Chapter two perceives changes of ghost functions with the rolling of time onrecalling the development progress of ‘ghost play’ in modern and contemporary erain China, phenomenon of chances of Chinese traditional ‘ghost play’ in modernand contemporary era as well as abstraction of fundamental features of ‘ghost play’in contemporary and modern China when the image of ghost after disintegrationhas been walking towards mainstream and obtaining new vigor since the beginningof20thcentury.Chapter three returns ‘ghost play’ to an artistic practice on stage that discussesthe causes of ghost image in ‘ghost play’ in modern and contemporary China inevolution of attires on stage through comparison on changes of attires, accessories and tools of ghost images in ancient and contemporary era.Chapter four tries to peep into the future of ‘ghost play’ in China through thewide-angle lens of global dramas.