A Study Of Single-fold Short Dramas In The Late Ming Dynasty

Zaju of Ming Dynasty unobtrusive in the history of Chinese literature,and the One-act Operas in the Late Ming Dynasty were also noticeable because they are innovatory products of the Zaju in Ming Dynasty.By researching these operas,we can find many outstanding and remarkable works which should be appreciated and studied.The introduction defines the period of "the One-act Operas in the Late Ming Dynasty",which last from the reign of Longqing to the end of Ming Dynasty,namely in AD1567 to AD1644.In addition,the definition and the evolution of the One-act Operas in the Late Ming Dynasty are explained as well as the differences between One-act Operas and opera highlights.Further more,the reasons why it can be popular in the Late Ming Dynasty are listed in this part.In this thesis the research status and significance of the One-act Operas in the Late Ming Dynasty are also discussed.Some researches have been done about the One-act Operas and Zaju in Ming Dynasty,however,little attention have been paid to the One-act Operas in the Late Ming Dynasty.Chapter One mainly studies the textual criticism.By retrieving and requiring,there are 65 One-act Operas that include 35 excited and 30 lost.At present,the author can find 30 One-act Operas in the Late Ming Dynasty.Chapter Two divides the ideological implications of One-act Operas in the Late Ming Dynasty into four aspects through reading.Which includes concerning about the in literati's resentment who have talent but no opportunity to use it,the narrative of earthy life,reflecting on the traditional values of life and express the literati's idle life.Chapter Three analyzes artistic characteristics of One-act Operas in the Late Ming Dynasty,which could be expressed from the three aspects:some basic characteristics such as short and pithy structure,autobiographical pattern and playful language,the characteristics of the North-South fusion style and the characteristic of literati.Chapter Four expounded stage performances of One-act Operas in the Late Ming Dynasty.This chapter could be divided into two parts:the recordation of these opears'performances and the explanation of common systematic tunes,a accompany with the introduction of musical instruments,posture expressions,costumes and props of One-act Operas in the Late Ming Dynasty.Chapter Five discusses the inheritance and influence of One-act Operas in the Late Ming Dynasty.These operas inherited the One-act Operas in the Middle Ming Dynasty,which were mainly described in the identity and area of the writer,the content of the works,plots and temperament.One-act Operas in the Early Qing Dynasty continued the creative tendency of the Late Ming Dynasty.While these operas performed the literati's highbrow feelings,they expressed personal indignation.In the meantime,the common systematic tunes and style were further deepened.Chapter Six examines the relationship between One-act Operas in the Late Ming Dynasty and the Academic Thought in Late Ming Dynasty.In AD1584,Wang Yangming's theory had quickly swept the entire ideological circle and even the literary world since it was recognized by the authority.Affected by this theory,literati created a large number of One-act Operas that were emotional and individualistic.At the same time,some religious operas were created under the influence of Wang Yangming's theory and Buddhism.In addition to it,some warning One-act Operas appeared in the Late Ming Dynasty as Donglin scholars rose up and advocated the art of leading countries.