Study On The Theory Of Performance Of Li Yu’s Opera Theory

The Occasional Notes with Leisure Motions as a master of traditional opera theory in the history of China, who inherited the basis of opera theory to construct a performance as the core of the writer, drama, opera theory system. In view of this, this paper takes Li Yu’s Dramatic Theory Department, Exercise And Performance Department, Voice And Appearance Department in The Occasional Notes with Leisure Motions as the object of study, to reveal the structure, the significance and value of Li Yu’s drama performance theory.This paper consists of introduction, body and conclusion. The introduction consists of two parts:one part discusses the origin of Li Yu drama performance theory. This part of the Zhong Guo Gu Dian Xi Qu Lun Zhu Ji Cheng as the research object, discusses Li Yu’s development and sublimation to previous generation successor’s "sing" as the opera theory. Another part reviews on the research status of Li Yu’s drama theory since twentieth Century.The body of this article consists of three chapters. The first chapter discusses the screenwriter theory of "structure first", a total of four sections. First, analysis the theory of Li Yu’s drama structure,"formulating control centre","tightening stitches","reducing clue" atc, demonstrates the opera plot structure is based on the stage performance as the core of the theory. Second, analysis of Li Yu’s temperament theory:"to rhyme" and "strictly abide by music", proofs the temperament that is in order to make opera rhythm has always been to stage performances as the aim. Third, analysis the spoken language and buffoonery theory, demonstrates the spoken parts is to pursue the beauty of language to stage and stage image lifelike, buffoonery is to enhance the stage entertainment effect. Fourth, combined with the works of Li Yu analysis the theory of "one people one thing", and reveal the theoretical limitations of the theory "one people one thing".The second chapter discusses "the designed for the debut" theory of performance, a total of five sections. First, analysis of Li Yu selected drama and tonality theory, pointed out the reason that Li Yu re-election drama and tonality tone is to make the writers text into the performance of the play, than achieve the best effect of stage performance. Second, analysis of Li Yu’s "excise voice" and "stringed woodwind" and "sound and dance" theory, points out that this is the training and improve the actors sing, speak, act, fight of performance ability in the stage. Third, analysis of Li Yu’s theory of opera art, pointed out that the requirements of the actor grooming and dress is playing for the opera roles, eventually achieve the decorative role of vivid, lifelike. Fourth, analysis of Li Yu’s drama pattern theory, pointed out that this theory is not only the opera stage unique program generalization, but also to the overall arrangement of opera plot play. Finally, analysis of Li Yu’s rhythm theory, points out that it does not conform to the law of development of traditional Chinese opera, and easy to cause the sound into a rigid.The third chapter discusses the opera theory of "the refined play of the audience requirements", a total of five sections. First, analysis the acceptance of Li Yu’s opera theory, and the association part of the opera language is "understandable and shallow", the content is "natural", the plot is "new and strange". Second, analysis the function of entertainment in Li Yu’s dramatic theory, the opera not only for audiences "beer", but also "full house guests". Third, analysis of Li Yu’s opera’s educational theory, emphasizing the drama education function of its "persuading to be good and punishing the evil" and "maidservant wind teach". Finally, analysis the limitation of the "entertainment" and "wind teaching" in Li Yu’s opera theory.The fourth chapter discusses the influence and development of Li Yu’s drama performance theory. This part especially from the late Qing Dynasty, late modern and modern society selected the most representative opera theorist Yang Enshou’s Ci Yu Cong Hua, and the modern drama master Wu Mei’s Gu Qu Zhu Tan and modern drama theorist Jiao Juyin’s opera theory, to explore the impact of how they are performing Li Yu’s theory and how to inherit and develop Li Yu’s drama performance theory.The conclusion part summarized the construction of Li Yu’s performance theory of the whole to Chinese classical drama, and breakthrough with "music" as the center of the opera theory, and making the factors of traditional opera are unified to the stage performances, thus forming a complete and systematic theoretical system of the Chinese opera as the core of the stage performance.