Evolution Of Drama Theory Trends From Artificiality To Nature In Ming Dynasty

The operations of artificial and nature carving are put forward by LI Zhuo-wu in the debate of the status of opera works in Ming Dynasty,which means the opera status of the Western Chamber and The Pavilion for Worshipping the Moon are higher than Pipaji in terms of nature and artificiality,and it has a concluding significance to this dispute and also has a far-reaching influence on later operas.Based on the existing research results,this paper intends to explore the meaning of the operations of artificial and nature carving,the evolution of drama theory from artificiality to nature in Ming Dynasty,and the influence of nature on later operas.The text includes the following parts:Chapter 1: the meaning of the operations of artificial and nature carving.By analyzing the initial meaning of artificiality and nature,the background of proposing ones by LI Zhuo-wu,and his relevant opera thoughts,it is believed that artificiality is skillful but nature is not,and "truth" is the essential difference between the opera meaning of artificial and nature carving.The "truth" of nature has aesthetic meaning on the basis of "childlike innocence",and focuses on the beauty transformed from feelings.Artificiality works has rich and varied language and false ethics,which are not deeply moving.Meanwhile,the characteristics of artificiality and nature in the different literary styles of folk literature and literati literature are considered,and the diversity of their evaluation criteria in opera criticism is clarified.Chapter 2: the evolution of drama theory trends from artificiality to nature in Ming Dynasty.The social trends in the Ming Dynasty changed from "Neo-Confucianism of Cheng and Zhu" to "WANG Yangming’s study of mind",and finally developed into "Left School of WANG Xue",with which the theory of opera also evolved accordingly.Its evolution relies on the dispute over the status of opera works in the Ming Dynasty,and also directed the drama creation at that time.In late Ming Dynasty,LI Zhuo-wu established the opera status of the Western Chamber and The Pavilion for Worshipping the Moon higher than Pipaji in terms of nature and artificiality,which has a concluding significance to this dispute.Artificiality summed up the characteristics of the opera theory in the early Ming Dynasty,which whitewashed peace for the purpose of promoting ethics,educating the people and maintaining feudal rule;in the middle of the Ming Dynasty,representatives of HE Liang-jun and WANG Shi-zhen launched a preliminary discussion on the status of opera works.He Liang-jun praised The Pavilion for Worshipping the Moon with "native language" and "danghang",which get the support of SHEN Defu,XU Fuzuo and others,while WANG Shi-zhen believes that The Pavilion for Worshipping the Moon has "three short ".In this time,the theory of traditional opera showed a tendency of transition from artificiality to nature;in the late Ming Dynasty,nature summarizes the characteristics Traditional opera theory focuses on bense and advocates true feelings,which represented by WANG Ji-de,LI Zhuo-wu and LV Tian-cheng.Chapter 3: the influence of nature.Its influence is reflected in three aspects: drama theory,drama commentary and drama creation.In drama theory,it is highly recommended to abandon artificial carving.Drama works also advocate nature in the realm.As for drama commentary,"truth" is the core content of LI Zhuo-wu’s commentary thought,and has become the recognized standard for later literati’s opera commentary.In drama creation,the true feelings were highlighted in the creation of romances of Late Ming Dynasty,which compared with the traditional ones.This kind of feelings originated from the frank truth.Its social significance lies in affirming the people’s pursuit of reasonable desires in the Late Ming Dynasty.The operations of artificial and nature carving by LI Zhuo-wu not only played a key role in the evolution of Ming Dynasty drama theory,which ranges from advocating rich and varied language and false ethics to advocating Bense and truth feelings,but also had guiding significance in the subsequent drama commentary and the creation of romances of Late Ming Dynasty.It also occupied an important position in the history of Chinese classical drama criticism and deserved further research and exploration.