| She Qiao(1567-1612),late Ming opera,was a native of Tongqueshan,Chizhou(present-day Tongling,Anhui).She Qiao wrote a lot in his life,but very little has been preserved,and only the opera work "Liangjiang Ji" has survived to the world.Written in the 35 th year of Wanli,"Liangjiang Ji" is a legend of the late Ming Dynasty and enjoys a certain reputation in the history of the development of opera,and there is no systematic and comprehensive special study at present.Combining the theory of opera structure and the theory of the grammar of qu literature,this paper systematically analyzes and discusses the structural characteristics and characteristics of the "Liangjiang Ji",explores the source of the theme and adaptation strategy of the "Liangjiang Ji",and finally tastes its linguistic characteristics.The main body of the paper has four parts:The first part explores the structural characteristics of the Measure River.This part sorts out the basic pattern of the script of "Liangjiang Ji" from the perspective of script structure,analyzes the specific structural techniques in the text on this basis,and compares it with the similar plots in "Sixty Kinds of Songs" to explore the commonalities and differences.The second part combines the research theory of Kunqu qu cards and sets to discuss the characteristics of the music style of "Liangjiang Ji" from two aspects: the number of songs,sets and their supporting plot.There are 82 southern music cards and 37 northern music cards in "Liangjiang Ji",and the creation of each song card almost meets the characteristics and rhythm requirements of the song card itself,showing the style of "knowing the music and keeping the law".The number of sets used in the whole drama involves 26 southern sets,3 northern sets,and 3 north-south sets.The whole drama is rigorous and flexible,focusing on matching the plot.On the whole,"Liangjiang Ji" can be called a strict rhythm in terms of melody.The third part explores the source of the theme and adaptation strategy of "Quant River"."Liangjiang Ji" is based on the "History of Song· Fan Shuqing Biography",She Qiao’s adaptation of historical materials is mainly reflected in the face-painting of the characters and the legendization of the plot.This part analyzes the adaptation strategy and motivation of She opera from four aspects: adapting to the script color system,the trend of the times of "taking music as history",expressing the blockade in the author’s heart,and attaching importance to the legendary allegorical function.By adapting historical materials and adapting to the performance system of opera,She Qiao allowed Fan Ruoshui’s deeds to be widely disseminated and played a legendary social function.The fourth part tastes the linguistic characteristics of the "Liangjiang Ji".The language in "Liangjiang Ji" conforms to the characteristics of the opera language of literary and white life,including elegant and handsome lyrics,final poems,and true colors of Bin Bai,and the overall style is elegant and vulgar."Liangjiang Ji" is not the most outstanding legendary work of the Ming Dynasty,but it has also prevailed in Datong for a hundred years,and is a witness of the legendary creation of the late Ming Dynasty,Hai Zishan,and an integral part of traditional national culture.Through the structure,music style,subject matter source,adaptation strategy,and language,the successful experience of the creation of "Liangjiang Ji" is analyzed in detail,which is helpful for enriching and promoting China’s national culture. |
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