Research On The Script Of Qinqiang Three Kingdoms Dram

As a real folk literature and art,Qin Opera is a prism in the spiritual realm of the Qin people.It reflects the deepest character traits of the people living in this vast land in the northwest.The Qin people’s tradition of emphasizing martial and righteousness and the spirit of the Three Kingdoms stories have been deeply integrated to form the Qin Opera Three Kingdoms opera that has been sung for a long time.Based on the existing Qin Opera Three Kingdoms drama script,this paper intends to analyze the drama and literature of the Qin Opera Three Kingdoms drama script from four aspects: script sorting,character image and ideological connotation analysis,artistic character inspection and the folk character of script literature,and dig deep into Qin Opera Three Kingdoms Opera.Implicit ideological foundations and folk ethics.The first chapter makes basic preparations for the early stage of the study of Qin Opera Three Kingdoms Opera.The first is the definition of the concept,which defines the boundaries and boundaries of the concept of "Qin Opera Three Kingdoms Opera" in terms of time range and content theme;the second is to integrate the Qin Opera play collection,and to sort out the existing Qin Opera Three Kingdoms opera scripts and plays to provide convenience for subsequent research;,compare other operas in parallel,and sort out the main sources that affect the formation of Qin Opera Three Kingdoms Opera;finally,the prosperity of opera art is inseparable from the audience,actors,theater and other objective factors.role in the sociocultural field.The second chapter discusses the character image and ideological connotation of Qin Opera Three Kingdoms Opera.In terms of characters,Cao Cao,Zhuge Liang and Zhang Fei are selected as the research focus,which respectively represent the three tendencies of Qin Opera Three Kingdoms’ characters to be "evil","divine" and "human".From the analysis of the characters,it is not difficult to find the ideological connotations contained in the Qin Opera Three Kingdoms Opera,that is,the orthodox view of the center of Shuhan,the value of the word "yi" in the first place,and the talent view of advocating wisdom and courage.The third chapter,based on the perspective of opera literature,analyzes the stylized,lively and popular artistic characteristics of Qin Opera Three Kingdoms as a whole.Stylization is the essential attribute of opera.Starting from the three paths of structure,link and modification,this paper discusses the stylization characteristics of Qin Opera Three Kingdoms from the whole to the details;War scenes and folk activities are the main methods of exaggerating the liveliness in Qin Opera Three Kingdoms operas.Popularity is a full expression of the two-way interaction between Qin Opera and the folk audience.The integration of popularity makes Qin Opera Three Kingdoms opera more grounded and has become a popular opera art work for a long time.The fourth chapter summarizes the cultural logic of Qin people’s acceptance based on the most fundamental "folk" feature of Qin Opera Three Kingdoms Opera.On the one hand,dialectically,folk culture presents the contradiction of both obedience and disobedience to official ideology and traditional Confucian ethics.Obedience is reflected in the general hero-worship mentality formed by the people based on morality and ethics;disobedience is reflected in the people’s deconstruction of Gaotai’s educational intentions,such as the people’s admiration for Mangzhi Zhangfei,and the exposure of Liu Bei’s "benevolence" as a technique.Sympathy and attention to the underprivileged,etc.On the other hand,on the whole,the optimistic and open-minded character of the Qin people has brought many "bright tails" to the Qin Opera Three Kingdoms Opera.Behind the fusion of tragicomedy and tragedy,the Qin people’s praises for their good moral qualities and their face Positive mental strength to remain optimistic and strong in the face of irreversible life tragedies.