The Research On Wangzengqi’s Traditional Opera

Wang Zengqi sets himself up as an “amphibiousis”writer,he is both a well-known novelist and a full-time playwright.At the end of 1961,when he was 41 years old,Wang Zengqi was transferred to Jingju Theater Company of Beijing.From then on until his death in 1997,in the more than 30 years,Wang Zengqi used playwright as his own job.There are 13 traditional opera scripts written by him independently or as the main author.He is not a prolific writer,but he weighed every word when he wrote each script,and each of his plays has a distinct personal style.As a conscious practitioner of the reform of traditional opera,Wang Zengqi has been working hard to improve the literariness and modernity of Peking Opera.He proposed the concept of adaptation of "a little change,a big difference" and the “literary determinism” in the field of traditional opera,this has certain reference significance for our current drama reform and adaptation of plays.In addition.Wang Zengqi’s opera creation runs through 1950 s to 1980 s,almost every work,especially the "model opera" involved in creation,is closely connected with the development of The Times and the cultural policies of opera.The study of Wang Zengqi’s opera creation provides a key for us to understand the development of traditional Chinese opera in New China.This paper consists of three chapters:The first chapter starts with Wang zengqi’s many essays on his life and creation,summarizes wang’s main thought view--"Chinese humanitarianism",and analyzes the reflection of his thought view in his scripts.It was Wang Zengqi’s unique consideration of the world and human nature that endows his scripts with the character of modernity and philosophy.The second chapter,starting with the identity of Wang Zengqi as a "Zajia",explains the influence of various literary forms on the creation of drama,especially the unique opera language which is formed in the combination of multiple styles: mixtures between Vernacular and Classical;have both elegance and pungency;be good at portraying characters and creating atmosphere.These two chapters are mainly based on the analysis of the script,trying to summarize the artistic style of Wang Zengqi’s opera creation.The third chapter is aimed at the view that "suitable for reading but not suitable for performance" widely held by the academic circle on the creation of wang zengqi’s opera.From the aspects of the troupe,the times and the policy,this paper analyzes why most of Wang’s plays are difficult to achieve from the conversion of the first creation to the re-creation and the gains and losses after the transformation,so as to better grasp the dialectical relationship between the theatrical literature and the stage,and to analyze the influence of the opera policy on the creation of Wang Zengqi’s opera.Each of the three chapters has its own emphasis and analyze Wang Zengqi’s opera creation from two aspects of creation style and stage performance.This article not only concerns the literariness of Wang’s works,but also pays attention to the theatricality of these plays.Through the summary of the experience of Wang Zengqi’s opera creation,there is a certain reference significance to the contemporary opera creation,especially the adaptation of the opera,the dialectical relationship between the first creation and the re-creation of the traditional opera.