A Rheological Study Of Orphan’s Story Play

In the long river of history and culture of China,"Orphan" story has a longhistory. It experienced a different way of expression recorded history, narrativeliterature, stage performances and film interpretation, etc. In this process, the story isconstantly re-shaping, re-construction, re-interpretation, the story gradually plump upconnotations, contains strong dramatic, unique artistry and exciting conflicts, overtime, has been widely accepted, but at the same time, the evolution of "Orphan" storyin the process, with the changing times and the body into the spirit, the story will beshowing some differences and rheology. This paper mainly for "orphan" story theaterstudies, focusing on the development process, from various forms of "orphan" storyplay as a starting point to study their differences and connections in the rheologicalprocesses. This paper is divided into five chapters:Chapter One: How a general overview of "Orphan" gradually evolved into astory of the whole process of historical allusions from history. Tracing the source,"Orphan" story comes first,"Spring" of two simple facts documented. Since then,"Zuo Zhuan","Ram" and "The Guliang","language","Lu" in both the relevantrecords, but "Zuo Zhuan" the most complete records. Here, the "Orphan" story hasbegun to take shape, but did not mention the orphans, visible, orphans image has notyet appeared. To Sima Qian’s "Historical Records", based on the original story, addinga lot of legendary, has formed a complete search solitary solitary rescue story,"Orphan" story prototype basic shape. Since then, it has become the history ofChinese literature and rewritten by using one of the largest theme. Among the manylater works, and you can see the story in miniature.Charter Two:The Jijun Xiang Yuan Dynasty " Orphan" in-depth discussion. Thiswork is highly representative of Chinese traditional operas in a repertoire, but alsofirst introduced to Europe in the Chinese theater, showing its great influence.Compare printed edition from the Yuan and Ming, on the ability of a breakthrough,elaborate spread during the four themes of change and the drama itself presentsartistic charm and so on. After digging small study, it can be seen showing the worksof sublime spirit of the Chinese nation, the life of hardship blend of deep feelings andmoral standards of good and evil, with a high social significance and aesthetic value. Chapter three: For South drama "Orphan mind," a study, according to Jing LiHu ’s view, South drama "Orphan mind," published by the Yuan Dynasty "Orphan" isderived from, and produce two branches: one by the " Zhengshi " the master copy,according to Jin the "orphan", then Fuchun Domoto "Orphan mind", the WorldChurch of the German "Orphan mind", and the other is that, according to the "Zhengshi " master copy to Ming legend " eight Heroes." This chapter focuses on theimportant value of the South drama "Orphan mind" and " Eight Heroes " of the YuanDynasty "Orphan " in terms of adaptation and " Eight Heroes," the artistic value.Through the "Orphan mind" and " Eight Heroes " these two branches of study to graspfrom the Yuan Dynasty to the Southern drama "Orphan mind" of change anddevelopment.Chapter Four: Focuses on "orphan" since the story of modern drama drama rheology.With the drama "Orphan" fame, French missionaries spread their translation intoFrench of France, and soon there will be a translation of English, German, Italian,Russian and other text, Voltaire inspired by it, written drama in five acts "Chineseorphans", caused a sensation. Due to creative background and playwright ideologyand other factors, these two works there must be some differences. In this paper, as astarting point to study the relationships between them through plot, theme, conceptand other aspects of theater. With the wind from the water of Dramatic Arts, thecountry dialect version, who art version of the play version of "Orphan" have beenreleased, due to the different director, and this third edition is still some dramadifference. Of course, modern times, there have been many local opera interpretationof "orphan" of the story, but also "Orphan" story play in a branch of the spreadingprocess, can not be ignored.Chapter V: focuses on contemporary forms of art, movies, TV drama adaptationof the orphan, because movies and TV shows are integrated arts, while in the audiencefamiliar with the story, how to seek a breakthrough in film and television, the screeneffect, language arts, aesthetic needs of the audience and other factors that areconsidered within the scope of the director, as the impact of these factors willinevitably doping some other ingredients, bring to the creative works of somelimitations, the original artistic naturally weakened.