Research On The Stage Adaptation Of The Peony Pavilion

As the most representative work of Kunqu Opera,The Peony Pavilion presents different appearances on the stage.Behind the various performance features,different adaptations reflect the personality interpretation of The Peony Pavilion and the different understanding of the traditional theater stage.The adaptation of the desk and the stage and the collision of the ancient and modern aesthetics made the stage of The Peony Pavilion surpass the Ya artistic style(belongs to the aesthetics of the upper class),thus limiting the performance of the complex and enormous drama content of The Peony Pavilion,and also limiting the rich and varied inheritance and development of traditional Kunqu performance art.This article is divided into six parts.The introduction summarized the related research results of The Peony Pavilion from five aspects,and proposed that the innovation of this paper lies in the observation of the ancient and modern,restoring the historical reality of The Peony Pavilion stage presentation,and analyzing performance techniques and stage presentations of the opera represented by The Peony Pavilion.Trying to provide experience and enlightenment for the adaptation and inheritance of The Peony Pavilion or similar classical opera works in the future.The first chapter explains the performance and script development of The Peony Pavilion from the Ming and Qing Dynasties to modern times.The performance of The Peony Pavilion is a weak point on the stage of the theater.The performance art of inheriting the Zhezi opera(intercepting drama fragments)alone cannot restore the highly complex and philosophical The Peony Pavilion to the stage.The second chapter focuses on the adaptation of screenplay in the adaptation of The Peony Pavilion.First of all,the performance of the entire The Peony Pavilion should not only show the plot of Du Liniang's death and resurrection.The plot after her “rebirth” is equally important.Most of the entire operas not only do not attach importance to the following circumstances,but also do not appropriate revisions;followed by the specific contradiction between the Zhezi opera and the entire adaptation.The third chapter first put forward the neglect of the subjective initiative of Du Liniang in pursuing love on the stage.Secondly,in the actual performance,the stage ignored the deep reasons reflected in the completely different attitudes of the masters and servants.Finally,the author pointed out that some improper corrections led to the flattening of other characters and led directly to The Peony Pavilion play.It is impossible to present the richness and philosophism that should be on the stage.In the fourth chapter,firstly,it is inferred from literature that the performance style of The Peony Pavilion in the Ming and Qing Dynasties was suitable for performances in the hall.The whole performance was gradually replaced by the carefully-printed the Zhezi opera.Secondly,The Peony Pavilion on the modern stage blindly inherited the “elegantization”.The performance of the performance of the Zhezi opera led to a single style of performance.However,academic circles rated The Peony Pavilion version of some unique styles on the stage as too strict.The added folklore and “creative principles” made the entire The Peony Pavilion appear on the stage.In the end,some performance passages of The Peony Pavilion show different performance styles that are caused by the main character of Juer(the celebrity among the acting troup),which has already mixed in misreading with contemporary actors and dramas or Kunqu Opera arts.People today should treated and absorbed dialectically.The fifth chapter focuses on the innovation and development of the opera The Peony Pavilion on the modern stage.Some innovations dissolve the essential characteristics of the opera art;secondly,the flowers God,Shi Daogu and Yang Po dress up had changed a lot on the stage,which embody different interpretations of The Peony Pavilion by the various directors.No matter what their changes in their colors or innovations in costumes are,they all have advantages and disadvantages.At the same time,they also reflect the refinement and the development of the traditional operas on the stage of modern operas.In the conclusion part,the stage of The Peony Pavilion is presented in the retro and innovative lines.For the interpretation of the classic works of The Peony Pavilion,especially on the stage,it should be enriched and diversified under the premise of respecting the rules of the creation of the opera.