A Study Of Tang And Song Farces

Tang and Song farces are considered as a unique theatrical form and a key link that connects the preceding and following in the development of the Chinese traditional theatre.The dissertation,a research on the farces in Tang and Song dynasty,focuses on the emerging of farces,major forms of Tang and Song farces,a comparative study of prahasanas and Tang and Song farces and the influences on theatrical concepts by the rise of Tang and Song farces.Tang and Song farces rise with the heritage of comical tradition initiated in Pre-Qin period and the profound influence of performing arts abroad.It is the fruit of the joint effort of the indigenous culture and incoming art of India and Western Regions.In Tang and Song dynasty farces developed into a major form of performing arts,with role playing and story performing as well as a comprehensive form combining spoken words,singing and dancing.Though never grown into dramatic literature,it is always a well-grounded theatrical practice that laid down a foundation for the rise of Nan xi and Northern zaju in the technical and conceptual aspects.The first chapter discusses three elements that have impacts on the emerging of farces.Tang and Song farces inherit the comical language and body movements of ancient comedians and their comprehensive performing tradition of speaking,music,singing and dancing with expostulation tradition as its core value.The introduction of Buddhism,which leads to the prosperity of folk culture,gives a chance to the birth of theatre in China.Buddhist music,foreign performing arts and foreign comedians contribute to the traditional Chinese comical performance with new contents and forms that give rise to dramatic performance in China.Due to the close connections between Tang and Song farces,the second chapter does not follow the time line of the two dynasties.Instead,it makes a close study respectively on four most important farcical patterns,namely Tayaoniang,Canjun play,puppet theater and Song and Jin zaju,depicting a general picture and the evolutional process of Tang and Song farces,which enhance the performing arts to a new height with unrestrained and creative characteristics.A comparative study of the theatrical practice in the neighboring country broadens the horizon of research.The third chapter compares the satirical targets,performing patterns and theatrical forms between prahasanas and Tang and Song farces,with the aim to have a clearer understanding of the patterns,formation and progress of Tang and Song farces under the framework of oriental theatre.A study of the possible connections between the two theatrical practices is also made through comparative research.Theatrical practice and theatrical concept are mutually associated with inseparable connection.The rise and development of the Chinese traditional theatre are always accompanied with conceptual progress.The theatrical practice leads to gradual explicitness of concepts;in reverse,the concepts lay the framework for enhanced practices.Based on the above-mentioned understanding,the fourth chapter discusses the connections between Tang and Song farces and the establishment of theatrical concepts.It goes through the formation and transformation of the traditional theatrical concepts and analyzes the impact of farces from the imitation and role play in the pre-theatrical concepts period to the popularization of story performance of Tang and Song farces.The course of the rise of farces from comical performance demonstrates a major line of early development of Chinese traditional theatre.Tang and Song farces directly give birth to Nanxi,Northern zaju and other mature theatrical forms.Change is the only thing constant.The practice of the Chinese traditional theatre witnesses constant progress of its contents,forms and theatrical concepts.The dissertation emphasizes on the changes of the theatrical practices of Tang and Song farces while comparing them with the theatrical form of neighboring country at the same period,aiming at presenting a key clue of the Chinese traditional theatre.The research provides an angle for in-depth study that will present a more comprehensive history of the Chinese theatre and a more diversified,multidimensional perspective of theatrical history study.