The Feminism Manifested In The Aesthetic Performance Of Li Yuan Opera "Chen San Wu Niang"

The feminist music criticism and the core concept developing from feminism"Social gender" theory,have been widely used in music research in the west.There’s also a similar feminist thought in Chinese operas.As a classic play of Liyuan opera,"Chen San Wu Niang" not only marks the artistic peak of the development of the Liyuan opera,but also shows the desire and pursuit of women’s initiative in the love and marriage and fits with the three stages of feminist historical development..Using the western music’s research on "feminism" music and the study on the field of sociology,literature and aesthetics for reference,this thesis examines the different versions of Liyuan opera "Chen San Wu Niang",the Eastern China stage performance in 1954 and the movie version in 1957.Through field investigation and network survey,a large amount of literature,video audio,and music are obtained.Vertically,this thesis will riew the evolution process of the "Chen San Wu Niang";laterally,this thesis will analyze two versions of Liyuan opera "Chen San Wu Niang" in a series of elements,such as the script,tune,vocal deduction,in order to explore the internal relationship between aesthetic performance and feminism,investigate the female characteristics and unique aesthetics in it,and provide some implications for the research of music in other operas.