Research On Wang Tinge’ Existing Verse Dramas

In the boom era of legendary, Wang Tingne, a dramatistin the Wanli period Ming dynasty, has created a lot of dramaworks. There are eight kinds of drama, and fifteen kinds oflegendary are determined were his creations. Moreover, inhis creation there is no shortage of sanqu, short lyric,poetry, etc. Wang’s legendary creation drawn wide onsociety and officialdom life elucidates own thoughts.Due to the lack of historical materials for Wang Tingna thelife after careful research, and about activities from1569to 1628before and after.His word went to Thailand, after thathe changed the word Changtoward and None was hisnumber. He was also called sit hidden or none. HisHometown was Xiuning, Anhui province, but later Nanjingbecomes his main place. In the period of childhood, WangTingne was adoptive to a wealthy businessman fromcommon ancestry. During that time, Anhui’s businessmenwere paid much attention to industry, and more emphasison the officialdom of children, so Wang obtained goodeducation resources from the very beginning. The familyclass was popular among Anhui’s business. Opera graduallycame to the main content of the activities in theentertainment of businessmen and the exchange betweenmerchants and dignitaries. Because Wang’s adoptive father lived in this environment, Wang was naturally affected byopera. Under the influence of this culture andentertainment, Wang employed Sanqu to win the favor ofthe Opera Studies before his official career. He began hisopera creation after he attended the official position as Salttransportation.Seven kinds of legendary works that survived in WangTingne’s creation can be divided into three categories:1.Because of the dispute between party and society, Wangused tactful way to describe his own political ideals throughhistory, thus the creation of “three I wish Hutchison,”“meaning strong”, two Donnie Brasco drama, embodiedWang’s punishing evil and anti-espionage, the idealistsjustice pursuit of political ideals.2. In Wanli period Ming Dynasty, love drama and the concept of freedom loveflooding, Wang also created some love dramas, in whichsurvived “color boat in mind”,“cast peach in mind”, and“kinds of jade in mind”. These three love dramas embodiedWang’s advocating for free love, but what Wang wantedmore is to find a reasonable destination for the freedom love.In Wang’s pens, he maintained the freedom love by theacceptance of Confucianism.3. Ming Dynasty was also aperiod of ideological emancipation. Long before, people’smind has been dominated by Confucianism, whereas duringthis time, when people opened the door for the thinking,social thought became proliferated, even there is no bottomline. In this case, Wang realized that the presence ofConfucianism was still being necessary. One of the two in Wang’s Confucianism drama “the day secretary” reflectedthe honesty and moral among friends; the other “Lion’sRoar” reflected the relationship of couple. In Wang Tingne’srequirements, The ethics must be returned to traditionalcouples.Wang’s existing seven categories of legendary reflectedhe has unique artistic features in his creation, and in theseseven plays, the theme of them are almost historical eventsor sketchbooks, however, Wang was good at changing, bysimilar things to speak up pregnant, give us a familiarreading but the refreshing feeling. Wang’s writing was in theuse of the "dream","spirits" so as to works could achieveodd, and absolutely the existing seven legendary workswere all employed this means. In Wang’s structural arrangements, although he strived to explore new clues tothe structure, and attempted to use the two-way ormulti-line in his opera works, his exploration results werenot very satisfactory, confusing clues turned up in manyplaces. His good use of coincidence and suspense on thestructure of the set give the readers a feeling of “vista”.Wang’s application in such rules and layout were veryskilled. For example, Jian Zhang’s fled in “of strong mind”highlighted his skillful application. Wang also took notice ofthe characters and the stage outside the rules and layout.He shaped the characters by language, and under his pens,the people were angular. All of these were also his attitudetoward love and hate. On the aspect of stage, Wang’sattention was paid on song speech, songlaw and Spoken. He attempted to assure the songs’ elegant, and at the sametime he paid attention to stage rhythm. He was good atusing the Spoken to coherent the story to make theaudience could understand the development of the issues.Wang made great efforts in the creation, and tried toexplore a self-concept drama operas as well as the creativeway in opera, it seems that Wang’s exploration has reacheda certain degree, but Wang’s works have some limitations,at a time when the stage more preference in excerpts of.With the development of opera, Wang’s works havegradually died out without sound, but as a period confirms,Wang’s creative exploration let the later song studies havethe opportunity to learn more about the songs’ concept, tostudy the universal concept of opera from Wang’s own concept of opera, and to understand the opera explorers atthat time.