A Study On The Female Images In Chinese Opera In The 17 Years Of New Chin

At the end of the 18 th century,the vigorous development of western feminist movement also had a corresponding impact on the social status of modern Chinese women,and the thought of women’s liberation also imperceptibly influenced Chinese literary and art workers,which was also evident in the early Chinese opera creation.In China,the earliest exploration of opera can be traced back to the 12 children’s opera works created by Li Jinhui between 1920 and 1929,some of which not only portrayed innocent and naughty children,but also portrayed women such as loving mothers.In subsequent works such as The Tempest on the Yangtze River,Autumn Son and Brother and Sister’s Wilderness,although the proportion of female characters in the drama is less,they are more three-dimensional and full of characters.In Chinese opera creation in the 1950 s and 1960 s,there was a prominent change in the image shaping of women.Women in the works were no longer timid and weak in self-control,but began to appear independent,firm,calm and strong heroines such as Liu Hulan,Han Ying and Sister Jiang,and gradually occupied the center of the stage.Through an in-depth analysis of the female images in the three most representative operas during the 17 years of New China,combined with the social background,literary and artistic policies and other external factors,this paper explores the reasons for the emergence of "big female opera" in this period and the creative ideas of the scriptwriters and composers,in order to reveal the characteristics of the artistic creation of opera in the 1950 s and 1960 s.This paper is divided into the introduction,five chapters and the conclusion,a total of seven parts to explain the female image in Chinese opera during the 17 years of new China.In the introduction,through sorting out the relevant historical materials and interpreting the literature,sorting and summarizing the background and significance of the topic,the research status,research ideas and methods are carried out.The first chapter mainly combs the creation of female images in Chinese opera from 1920 to 1966,analyzes the female images in opera from the content and main cantos of the opera through two stages from 1920 to1949 and 1949 to 1966,and summarizes the changes of female images in opera in these decades in the summary.The second chapter to the fourth chapter is a specific analysis of the three most representative opera works in the 17 years of New China--The Marriage of Little Erhei,Honghu Red Guard and Jiang Jie.Drawing on the feminist music criticism theory,it explains the characteristics of shaping the female image in the opera from the analysis of the script and the representative verse of the heroine.The fifth chapter is about the commonness and reasons of female image building in opera during the 17 years of new China.It summarizes the commonness of female image building in the three operas from the distribution of male and female main roles,the characteristics of female image building,the change of female social status and so on,and explores the reasons for the presentation of female image "masculinity".The conclusion of the article is that the opera works in the 17 years of New China are mainly female,and most of them have heroic images.The main reason for this phenomenon is related to the low social status of women at that time and the publicity of "gender equality" and "women can hold up half the sky".In addition,through the analysis of the creation background,plot content and musical elements of the three operas,"Little Erhei Marriage","Honghu Red Guard" and "Sister Jiang",it is found that during the 17 years,playwrights and composers mainly wrote operas to serve political propaganda,and the women in the operas were no longer the indecisive women image in the traditional cognition.They presented a brave,calm new female image,social status and ideology also improved significantly.Under the influence of the social environment of national liberation and national rebirth at that time,the composer more closely matched the national mainstream consciousness such as "class consciousness" and "revolutionary consciousness" in the portrayal of characters,so that the female images in the play showed many "masculine" characteristics,while the original unique female characters were partially covered,which became the main feature of the new female images in literary and artistic works at that time.