The Spread And Acceptance Of The Peony Pavilion In South Korea

Tang Xianzu was a famous Chinese playwright of the Ming Dynasty.He was a native of Linchuan,his major plays were collectively called the Four Dreams of Linchuan,which included The Purple Hairpin,Nanke Ji,Handan Ji and The Peony Pavilion,and in which The Peony Pavilion spread the most widely and was considered as the best one of Tang Xianzu.With the increasing frequent cross-cultural exchanges under the background of globalization,many Chinese operas have gone abroad and set foot on the exotic stage so that more and more foreigners can enjoy the charm of Chinese operas.As a neighbor of China,South Korea has more frequent exchanges with Chinese opera culture.Through the author's investigation and study,I found that the exchange of drama between the two countries could be traced back to the Qin and Han Dynasties,and there were many records in literature and historical materials.Nowadays,with the opening of Chinese majors in many universities in South Korea,more and more scholars have turned their attention to Chinese operas.More and more opera works have entered the sight of Korean readers and more and more opera works have been translated into Korean.The exchanges between the two countries have taken a new height and entered a new phase.Although much progress has been made in the exchange of Chinese drama between the two countries,the author finds that most of the scholars' research focus on some well-known operas,such as The West Chamber and The Complete Record of Five Lunches.Attention is still not paid to other opera works such as The Peony Pavilion,many Korean don't know The Peony Pavilion and in South Korea,there are only a few translations can be compared with The West Chamber and other works.In this situation,I think it is still necessary to increase the overseas dissemination of The Peony Pavilion and other outstanding drama works,so that more and more excellent Chinese opera works can go abroad and go to the world.At the same time,the author summarizes the problems that she met during spreading Chinese operas in primary and secondary schools in South Korea according to her teaching experience,and further explores the communication strategies of Chinese opera in South Korea according to the feedback of Korean primary school students on Chinese opera promotion class.This article is divided into four chapters.The first chapter is a brief introduction of the spread of Chinese opera in South Korea.This chapter introduces the spread and acceptance of Chinese opera in South Korea from ancient times to the present,among which the most popular is the drama of the West Chamber,which is the most popular drama in South Korea.Second,it introduces the research status and achievements of Chinese opera in Korean academic circles.The second chapter is the dissemination and acceptance of The Peony Pavilion in South Korea.This chapter first introduces Tang Xianzu and his masterpiece The Peony Pavilion,and then elaborates on The Peony Pavilion in South Korea in several ways of transmission: drama text transmission,stage communication and mass communication.Through this chapter,the article introduces the general situation of The Peony Pavilion from the Joseon Dynasty to present-day Korea and analyzes the different modes of transmission that are emphasized in different periods.The third chapter is an example of the teaching of cross-cultural communication in the Chinese opera The Peony Pavilion.Based on her experience in teaching Chinese opera The Peony Pavilion at Naju Primary School in Jeollanam-do,South Korea,the author summarizes some of the problems that Chinese operas are prone to appear in cross-cultural classrooms and proposes corresponding solutions.The fourth chapter is the strategy for the external communication of Chinese opera.Based on the introduction in the previous chapters,this chapter summarizes the current situation of the dissemination of Chinese Opera in South Korea based on The Peony Pavilion and proposes the strategy for the transmission of Chinese Opera to South Korea in the future.The final conclusion.The conclusion summarizes the spreading and acceptance of Chinese operas in South Korea,and at the same time draws a conclusion on the cultural extension lessons in South Korea.Finally,it puts forward the expectations for the spreading of Chinese operas in South Korea.