A Study On Commentary On Sixty Kinds Of Opera

The Commentary on Sixty Kinds of Opera is an ancient Chinese opera work published by Jilin Publishing House in 2001,which was the first complete commentary on Sixty Kinds of Opera.It was edited by Huang Zhusan and Feng Junjie,and was completed by 65 scholars over 8 years,with considerable academic value.This article takes Commentary on Sixty Kinds of Opera as the research object,based on the "commentary" and "annotations" parts of Commentary on Sixty Kinds of Opera studies the characteristics of commentary and annotation,and analyzes the academic value and shortcomings of Commentary on Sixty Kinds of Opera.The introduction section includes an analysis of elaborating on three aspects of the research status of Sixty Kinds of Opera and Commentary on Sixty Kinds of Opera,as well as other opera commentaries,the connotative meaning of the theme,and the basic research ideas and methods of this article.The first chapter introduces the publication of the version of Sixty Kinds of Opera from the white text to the annotated version,in order to observe the characteristics of Commentary on Sixty Kinds of Opera published in 2001:its format is huge and its content is detailed.When discussing the stylistic classification of Commentary on Sixty Kinds of Opera compare it with other annotated versions of traditional Chinese opera,and thus elaborate on the stylistic characteristics of Commentary on Sixty Kinds of Opera Its annotations are more numerous and the content is more rich and easy to read,creating a review mode of "short comments+general comments".The number of illustrations recorded is numerous and the versions are diverse,while adding content such as plot sketches,textual research,and appendices.The second chapter analyzes the comments on Commentary on Sixty Kinds of Opera,exploring the exploration of short comments and general comments respectively.The analysis and comment section inherits the innovative "short comments+general comments"model,provides detailed and rigorous comments,and diversified discourse styles.Chapter 3 discusses the annotations of Commentary on Sixty Kinds of Opera,compares and analyzes them with other annotated collections of traditional Chinese opera and single line annotated books,and elaborates on the characteristics of the annotations of Commentary on Sixty Kinds of Opera:a wide variety of types,integration and correction in annotations,prudence and accuracy,and diverse annotation methods.We further selected some scripts from Commentary on Sixty Kinds of Opera as the research object,and discussed and supplemented the content of interpretation errors,phonetic errors,and interpretation candidates.Chapter 4 discusses the musicological value of Commentary on Sixty Kinds of Opera,including the reflection of literary,musical,and performative values.It is also divided into items and points out that there are still some inappropriate aspects to be discussed in Commentary on Sixty Kinds of Opera.Commentary on Sixty Kinds of Opera is not only a structurally complete and meticulously researched collection of commentaries,but also an academic collection for studying traditional Chinese opera and a reference book for historical materials of traditional Chinese opera.Although there may be loopholes,the flaws do not cover the flaws,and the academic value is worthy of recognition.However,due to a certain number of errors and omissions,the revision of Commentary on Sixty Kinds of Opera is also urgent.