Research On The Value Of Historical Materials Of Qing Dynasty Operas Contained In Yanxinglu

There are rich historical materials of performances in the Yeon’haeng-rok(燕行录),including traditional opera,Wrestling,folk entertainment,magic arts and many other tricks.Among them,the historical data of opera includes stage,pass,repertory,accompaniment and so on.This paper explores the value of historical data of opera in Yeon’haeng-rok(燕行录)Journey Records,including the value of historical data of repertory,stage,audience,accompaniment,troupe and costume.This paper is divided into five chapters.The first chapter is the repertoire of Yeon’haeng-rok(燕行录).Starting from the court repertoire and the folk repertoire,the author analyzes the repertoire data in Yeon’haeng-rok(燕行录)Travel Records and compares the repertoire data in different time periods.It is found that the folk like to stage the historical repertoire during the Jiaqing and Daoguang dynasties of the Qing Dynasty.In addition,the historical materials related to the thematic changes of the West Chamber(西厢记)and Yue Fei drama in the novel are found,providing historical materials for the exploration of the thematic changes of the two dramas in the Qing dynasty.The second chapter is about the stage of Yeon’haeng-rok(燕行录).through the integration and analysis of the historical data of the village stage,the theatre garden stage and the palace stage in the Yeon’haeng-rok(燕行录)Journey Records,it is found that the northeast stage is mainly fixed temple stage and temporary stage.The historical materials of the stage in the"Yeon’haeng-rok Documents"have important supplementary value for the commercial operation details of the Kyoto Opera Garden and the shape and structure of the grand palace opera house.The third chapter is the audience of Yeon’haeng-rok(燕行录).from the female audience,the other field the audience and the audience in the form of drama performance point of view,the analysis of the audience in Yeon’haeng-rok(燕行录),found that the phenomenon of female viewers to public view in the Qing dynasty drama increased,and the site is different,as the audience involved widely,including imperial concubines,nobles,king’s angel,pawn and common,officials bannermen,wealthy Chinese,etc.,at the same time mining to historical data on the domestic audience is complementary of the existing historical data.The fourth chapter is accompaniment,troupe,costume of Yeon’haeng-rok(燕行录).By integrating the relevant historical materials in Yeon’haeng-rok(燕行录),it is found that the accompaniment instruments in the period of Hua-Ya dispute are inclusive,and there are signs of the accompaniment in the drama literary martial arts field.The historical materials of opera troupe in"Yeon’haeng-rok Documents"have supplementary value to the operation of folk mobile opera troupe,the cooperation between Anhui troupe and opera garden,the scale of Anhui troupe and the tendency of the early stage of Anhui troupe.As far as costumes are concerned,there has been a sense of innovation,and the visual aesthetics of opera has been improved.The fifth chapter is about other related performances of Yeon’haeng-rok(燕行录).Through the analysis of historical data of a performance in Yeon’haeng-rok(燕行录),it is found that there had been a dramatic lotus blossom fall in Shenyang during the reign of Emperor Qianlong.There are also historical records of Pai Zi Qu,Zidi Shu,Drum Ballads,Magic art,Acrobatics,etc.,which played an important role in enriching the historical records of performance in the Qing dynasty and exploring the diversified and complex performance ecology at that time.