The Study Of Yuan Dynasty Immortal-taoism Opera

Ma Zhiyuan is the early stage of the yuan dynasty immortal-Taoism Opera representative writer. He is very pay attention to the performance of modern individual, need detailed case analysis on the drama can be fully reflected. According to the detailed data analysis of Mr Liu Yinbai’s “textual research on Ma Zhiyuan’s and plays”,4 immortal-Taoism Opera of Ma ZhiYuan can be divided into early and late.The first chapter specific analysis Ma Zhiyuan in middle-age creation “Lv Dongbin three drunken yueyang tower” and “West huashan Chen tuan high lying” the two immortal-Taoism Operas. At this time, Ma Zhiyuan still have a deep concern for the secular.In the face of the long history and real life,he has a lot of emotion. For the rough and dark of life,he is also thinking about his life towards, wandering and struggling between the wto and the passive. Second, further analysis Ma Zhiyuan after aging gradually creation “the Handan Road realize Huangliang dream” and “Ma Danyang three degrees of Ren Fengzi”the two plays. Along with the age growth, Ma Zhiyuan pay attention to strengthen with religion, specific about religious dogma doctrine in the play, to try to merge. The latter is more obvious on show the teachings of the actual practice, attempts to determined the Epiphany. Ma Zhiyuan’s immortal-taoism plays have a development of the emotional clues, concrete analysis is needed to complete. Throughout its four immortals road show, we can see he is thinking hard about life, the emotion of play also becomes more and more deep, meaningful, convey the pursuit of spiritual freedom, full of free and easy.At the objective time, the other yuan dynasty immortal-taoism dramatist, later than or slightly later than Ma Zhiyuan, and they has some common features in the immortal Taoism drama, so, the author put them as the yuan dynasty middle-late fairy the drama group for research.The third chapter will focus on digging in the yuan dynasty middle-late immoral-taoism plays.Compared with Ma Zhiyuan’s, the latter had the very big difference. First of all, the play is the eternal life to pursue, attach importance to material comforts, the spirit of absolute freedom to erase. At the same time, the personages emotion is rich, colour is gradually clear, group of joy and celebration, builds a lively scene.The fourth chapter in yuan dynasty immortal-taoism play to show the general characteristics of summary analysis. Immortal-taoism drama in the yuan dynasty obtains the full development, formed the degree of the system model, basically plays around showing off with Xian Yuan degrees off, life as the core of conflict and the degree of the ultimate end. At the same time, the yuan dynasty immortal-taoism drama focus on lyrical function, the author through to comparative analysis with the same Moben “PoDaoGanBang” plays. “PoDao GanBang” plays focus on the narrative function, set up and interesting story, shaped the fullness of character image, get more audience’s affection, a further development in the Ming dynasty. And immortal-taoism Opera strong lyrical color, especially with time going, gradually difficult to let the audience interested. Immortal-taoism play is also gradually towards the end, turned into more festive GongYan Qing drama in the Ming.