A Study On "Kejie" In Chuanqi Of Ming Dynasty

Chuanqi of Ming Dynasty is another peak after Yuan Zaju in the history of Chinese drama,which making an extraordinary creation whether in drama script or in stage performance.“Kejie” is an important composition in “Chuanqi” organization of Ming Dynasty,which is both the base of drama script literature and the direction of play show.In other words,if dramatists accurately create “Kejie”,witch is a symbolize that they attach attention to the histrionic.This thesis' research scope is from 1351 to 1644,based on Ming “Chuanqi” works from“Sixty Opera” as research object,and to settle in “Kejie” of Ming Chuanqi as this thesis' study foundation.The structure arrangement in this paper,which is divided into four chapters.Chapter One firstly presents the application and development of “Kejie” in “Yuan Zaju” and“Nanxi”;secondly,analyzing the changing trend and developing features in three varying period of“Kejie” in Ming Dynasty,which as pregnant period of stylized,growing period of explicit,emergence period of detailed.From above,this thesis summarizes three creative changing characters of “Chuanqi” in Ming Dynasty,which are species from a single to diversification,expressive force from rigid to vivid,plot binding extent from friable to compact.The stage performance on “Chuanqi” of Ming Dynasty is including two parts,as stage show and stage means,therefore Chapter Two analysts the dramatic feature in stage performance of ‘Chuanqi' in Ming Dynasty”,focusing on the point of dramatics performance,on the one hand,by displaying lifelike action in order to creating intense and compact conflict and to alternating the rhythm of drama;on the other hand,through magnifying minute inner action so as to highlight characters' mental activities and create emotional expression.Chapter Three discusses the innovative breakthrough in stage techniques of ‘Chuanqi' in Ming Dynasty.First one shows up in indicating the exploit of stage space,via free and lively means called “Nei” to achieving stage space transform,by designing actors' standing and walking space station to achieve stage dispatch.Second one is paying attention to stage effect,by means of “Nei” to handling sound effects,by means of firebrand and candlesticks to creating lighting effects,by means of light field and dark field intersected to produce magnificent stage effects.Third one is formatting stagenarrative approaches mainly from four approaches:with method of “Nei” conquers narrative perspective conversion and implies stage-performing time,applying with stage-property binds Sheng and Dan two parallel staggered leads together just as joint tie.Forth one is the innovation of narrative techniques,which one feature is making best use of “Xuxia” to make suspense in order to satisfy audience's watching expectation horizon,another one is using group figures go around frequently from entrance and exit stage for the sake of making intense stage atmosphere.Chapter Four analyses the reasons why “Kejie” of Ming Dynasty has specificity method from four aspects,for instance as the concept evolution of “Chuanqi” literary style,the drama performance activities prevails among whole period,playwrights' rich practice experience,audiences' anesthetic requirements;But beyond that this chapter explores the values in “Kejie” of Ming Dynasty,which one attribution is a guidance of stage performance,another one is the basic adaptation of “Opera Highlights”,besides it has a unique contribution to ancient Chinese drama history.Through the study in the “Chuanqi” of Ming Dynasty,we can probe the stage performance situation and stage expression techies.Then in order to re-recognize and re-judge the contribution and influence of “Kejie” in ancient Chinese drama history,an moreover for reflecting the relationship between script literature and stage performance,in addition to rethinking the stage performance methods in ancient Chinese drama has a salutary influence and lesson to today's stage performances and techniques.