Research On The Group Structure Of Wanli Theatre Arts In The Ming Dynasty

“People” is the most important part of the Chinese theatre arts.Any culture is created by "people",and no culture can exist without people.Therefore,it is the one worth trying for studying Chinese theatre arts to put it in the social context of "living life".By placing the Chinese theatre arts in the special historical environment of Wanli in the Ming Dynasty,this article is to reveal the relationship between the Chinese theatre arts and the Wanli people and society,thus showing a “live” history of Wanli the theatre arts.During the Ming dynasty,great changes took place in many aspects.In politics,as the political climate became increasingly cruel and corrupt,the opera policy binding force also gradually relaxes;In ideology,the wind of detachment and indulgence becomes more and more intense;In general mood of society,the ethos of luxury and belief in ghosts is popular;In culture,the ethos of opera affection and the wave of “emotion-based” is popular.Because of such changes,the Chinese theatre arts has become a social trend.Almost every social group has been engulfed in this tide and become part of the Wanli theatre arts.Because of differences in hierarchy,occupation,gender,and geography,different social groups have differences in the relationship(the participation and the way of participation)of the Chinese theatre arts.From the perspective of the class,Compared with the upper and lower levels,the way the upper class participates in the opera is obviously richer and more advanced,and the level of participation is deeper.From the perspective of the profession,the relationship between royal family,officials,young scholars and mountain people,merchants,soldiers,martyrdom,eunuchs,the bottom citizens,farmers,rogues is different.In terms of gender,under the action of gender mechanism,the relationship between women and Chinese theatre arts is much weaker than that between men.However,there have been many new changes in the female group during the Wanli period.These shifts have improved and strengthened the relationship between women and opera.There are also huge differences within the female group itself.In acceptance methods and levels,the lady of the upper level and the working women of the lower level show many differences: the former is diverse,the latter is single,the former is profound,and the latter is shallow.Most of them are passively accepting the drama.In addition,there is a special group of women——prostitute.Compared to the lady of the upper level and the working women of the lower level,prostitutes play an important role in the creative process.Geographically speaking,the composition of the Chinese theatre arts groups in different regions was generally the same,but the roles and roles played by different groups in different regions were different.As a kind of developmental consumer goods whose production and existence depend on people's needs,the development direction of the Chinese theatre arts is determined by people's needs.When various groups with different needs flood into the Chinese theatre arts together,its development is inevitably pulled by various forces.In short,the history of wanli theatre arts is essentially a dynamic development history under multiple group forces.At the level of creation,the emergence of orthodox literati and gnome has emerged;at the performance level,different group demands have led to the coexistence of two distinct performance forms,“private” and “mass”;at the aesthetic level,the opposition between elegance and vulgar is particularly prominent.In addition,it has spawned the birth of some new opera groups that have never been seen before,such as philosophical singers,the Chinese theatre arts viewing circles,professional drama critics,and female critics.