The Study Of Guanmu In The Moralistic Drama And The Buddhism Drama

Yuan Variety Dramas(元杂剧)are divided into twelve families by Zhu Quan in his famous book Tai He Zheng Yin Pu(《太�'�正音谱》).The first family is The Moralistic Drama(神仙道化剧),and the last is The Buddhism Drama(神头鬼面剧).They respectively based on Daoism and Buddhism.This two religions fight always in the history,but not so obvious in terms of Yuan Variety Dramas(Zaju),they are so alike in the design of Guanmu and they are even merged into each other.In this paper,nineteen kinds of The Moralistic Drama and eight kinds of The Buddhism Drama will be studied,we will emphasis on the Guanmu of the two families and Stage performances will be considered.The paper is divided into four parts, the first part is an introduction, the next three chapters are divided into seven sections.The introduction consists of two parts. As the word Guanmu is occasionally be seen in some Chinese classical opera theory and hardly used in later studies of drama, so we will determine the scope of it apart from describes the study and significance of the topic. The second part introduces the research status and research methods of the topic, while the research work carried out scoping.The first chapter include two sections. Focuses on the aspects of the background and sources of Guanmu of The Moralistic Drama and The Buddhism Drama. The first section introduces the situation of Daoism and Buddhism and two famous drama writer named Ma Zhiyuan and Zheng Tingyu. The second section will analysis the sources of Guanmu one by one and divided them into three categories.The second chapter is devided into three sections. In this chart, the design of Guanmu is the emphasis, the first section will study The Moralistic Drama and the design of Guanmu is classified as immortal liberate, subdue slayer, immortal love and other way. The second section focus on the The Buddhism Drama, similarly, we also classifie them into Monks and Buddha liberate, karma and other ways. Based on the formal two sections, the third section will make comparisons in the them and with other families.The last chapter include two sections which focuses on the preamble text and to extend research. Deeper discussions in terms of the relationship of design among Guanmu, scene and the drama music will be made. The previous section analysis the relationship of Guanmu and scene, which reflect on the conversion of time and space, the change of character. The following section analysis the relationship of Guanmu and the drama music, on the one hand, statistics of the music should be sort out, on the other hand, Combine with specific work and focuse on the intrinsic link between music emotion and plot emotion in Yuan Variety Dramas(Zaju).