Research Of Wang Zengqi’s Opera Screenplay

The thesis is a demonstration of the specific features that WangZengqi’s Peking Opera scripts have. Those features are shown in different aspects,that is, some necessary elements for a text such as wording, structure andatmosphere. Part of the features has something in common with those of his novels.In this thesis, Wang’s Opera scripts are the main research object, combined with hisnovel works in different periods. At first, all his opera scripts are divided intoseveral writing stages. Then the focus is on his unique transferring practice fromnovel writing to opera script writing. Based on the achievement of previousresearches on Wang Zengqi in academics, the demonstration is an amendment,which, to some degree, makes up for the lack of researching on Wang’s opera scriptwriting while the previous researches mostly focus on his novel or prose writing.Thus this paper takes a trial step towards the integrity of researching on Wang’swriting practice.In this paper, the text part is divided into three chapters. Chapter One theStage-dividing of Wang Zengqi Peking Opera Script Writing, on the basis of theanalysis of his works. In this way, we can have a general idea of his opera works.This chapter is divided into three sections. In the first section, the author analyzesthe feature of Wang’s opera scripts during the period of the mid fifty’s to theCultural Revolution, that is, an adaptation process from traditional historical novels.The author states that Wang’s opera works are the external product of the innerworld during the period. The statement is supported by the characteristics of Wang’searly novels. In Section Two, the author analyzes Wang’s writing features during theCultural Revolution and the reasons behind that. The analysis covers the scriptlanguage (lyrics and spoken words), personality shaping and other art forms. Itstarts from the internal rules of literature development, trying to avoid the negative influence of the political factors at that time. In Section Three, the author analyzesthe features of Wang’s opera works after the Cultural Revolution, namely, a creativeadaptation process. The author makes it clear that during the period Wang’s operascripts are of modern philosophical reflection and deep color of folk culture.Chapter Two the Dualization of Wang Zengqi’s Peking Opera Script WritingThought, the mutual promotion and restraint between tradition and modernity.Based on the demonstration of the characteristics of Wang’s opera script works indifferent stages in the previous chapter, together with his novel writing, the authormakes clear the characteristic of his opera works, which embody the writer’thoughts. This chapter is divided into two sections. In Section One, the authordemonstrates that Wang’s input of thoughts are of tradition and modernity, based onthe sources of input and the reflection of his works. The second section is thearguments that his works reflect the combination of tradition and modernity. Thesection focuses on the writing techniques of his works, comparing the differencebetween the tradition of his early works and the modernity of his late ones. ChapterThree the Artistic Features of Wang Zengqi’s Opera Script writing. Thedemonstration covers the three aspects of language, structure and atmosphere. Thischapter is divided into three sections. In the first section, the author demonstratesthe lyricism of the language in his works from three aspects, that is, the monologuesand dialogues of the poetic lifestyle, the application of poetry, folk and poetic stageprompt language. In the second section, from the two aspects of mood flow in dailystructure and weakening external single conflict, the author demonstrates that Wangleaves out plots in his works. In Section Three, the author demonstrates the uniqueatmosphere in Wang’s works, namely, poetic quality and duality.