The Research Of Chinese Folk Playlet

Chinese folk playlet’s status and effect rarely be treated in a fair manner, so oftencaught in the situation which based on one biased position against another biased one.Folk playlet involving a wide range and time span, because of its complexity andrichness, and the importance of China in terms of history and culture, need people torecognize and protect it more comprehensively and correctly.Chapter1,"the conception of folk playlet" put "playlet" concept as a reference,combing the meanings of "playlet" in a variety of contexts, as well as the conceptswhich appeared in drama history, and have intersection with "folk playlet". Such as:Zaxi, Zhexi(Sanchu), tuxi, Shiju(Zachu), Shaoxi and so on.Chapter2,"Brief Description of folk playlet Development" in order tosuccession of dynasties, divided in six sections：before the Tang Dynasty, FiveDynasties, Song and Yuan Dynasties, Ming and Qing dynasties, modern time, andcontemporary era, to show folk playlet gradually independent from BaiXi, to grow, tolay the situation of traditional Opera occupy the chief position in all kinds of nationalperforming arts.Any form of drama is based on repertoires，the core of specific one play aretheme and content. Therefore, Chapter3"folk playlet’s repertoires," beside introducethe sources of repertoire’ subject-matter, select several common types of playcharacter, to show the prosperity and complexity of folk playlet’s content andideology. The biggest feature of folk playlet art of is mixed collage, a few types ofrepertoires put in numerous contents out of the main plot: play within a play, questionand answer in the way of sing songs.Chapter4,"performances of folk playlet", focus summarized the special methodsformed form the limit of manpower: use people to simulate tings, one people playmore than one roles,“jump in or out” of the roles, bypass, make use of fake shape.Folk playlet contribution to the drama role category is distinguish “clown” and “female role”. Folk playlet performances，both program regular succession andspecific action, to a large extent keep vestiges form the performing arts as its source-such as dance, rap scene，and have high degree of improvisation, more audienceinteractive participation.Chapter5,"folk playlet’s stage art", summarizes the abstract, impressionistic,virtual and other aesthetic features in folk playlet makeup, costumes, stage property,are largely because of the limited conditions. This chapter focuses on exploring theformation of dance property, and reasons of dance property develop to stage propertyor disappear in folk playlet.Chapter6,"folk playlet music " besides list the major sources of folk playletmusic, main carding folk playlet music’s dramatic process: differentiate intonation,scattered tunes how to evolve to stationary tunes and tune units, as well as abandonedtheir original features (such as the lining intonation) in the development of from ruralto urban.Chapter7"folk playlet’s development direction," summed up the developmentof folk playlet have roughly three kinds of outcomes:1, most of folk playlet are sidewith the drama;2, a few remain of the original system;3, and some of folk playletextinct or almost extinct. Whatever the outcome, the overall trend of the folk playlet ismore and more sophisticated and refined in art.Chapter8"The value of folk playlet in contemporary society and developmentstrategy of folk playlet," analyzes the folk playlet has not only spread,inherithistorical and cultural information and has the function of create individualpersonality, maintain social order, nourish many art forms, but also can be used asresearch subjects in many objects. When “drama crisis" engender, it also bring vitalityto folk playlet, because of neglected means repositioning again, and it possible to taketo get a new living space. Of course, the considerable part in folk playlet, hasobviously difficult to re-capture the market on its own, so need to reinforce theprotection, as well as through a variety of ways to let people recognize anddisseminate its value.Once, folk playlet always at the forefront in the series shape changes of drama. In pace with the traditional Opera is no longer occupy the chief position in thenational performing arts, folk playlet in the traditional sense will eventually abdicated.The generate motivation of drama is desire to get a fresh experience, even the daywhich traditional playlet disappeared, the demands of role-playing, change the pointof view or the scene to seek new experiences are still exist. So "little drama" includedin broadly definition of drama, will still play with the new carrier, and the new formactive in the people’s entertainment and life.