Research On Traditional Qin Opera Repertoire

As a genre with special significance in the history of Chinese opera,Qinqiang is the representative of the whole Bangzi qiang department.Ever since Ming and Qing dynasty,Qinqiang having its roots in the folk,has developed traditional Qinqiang operas with abundant subjects and diversified categories through long-term performance practice.Undertaking multiple social functions including entertaining people and gods,blessing,redeeming,as well as interpersonal communication,it is the intensive demonstration of people’s characteristics,folk customs and regional culture in northwest China."Research on Traditional Qinqiang Operas" is a project that involves a wide scope of coverage,and it’s the integration of several aspects of traditional Qinqiang operas including essential features,development tendency,form of performance,script literature,stage performance,folk culture and regional spreading.Starting from study on the general situation,traditional Qinqiang operas are teased out from the perspectives of“overview”,“classification”and“naming”.Subsequently,the emphasis is put on the form of art of traditional Qinqiang operas,and closely related literary features and stage present,and then expanded to the spreading of traditional Qinqiang operas in northwest China,in an effort to build a three-dimensional and diversified research framework for traditional Qinqiang operas.In the first chapter "overview of traditional Qinqiang operas",basic information of the research object is introduced,mainly studying the time of emergence of traditional Qinqiang operas,discussing its origination,inheritance and system features,analyze the characteristics and stages of folk artists’ collective creation,and study the Qinqiang opera transplantation of representative literary works,counting the number of plays and concluding survival of plays and scripts.In the second chapter“Classification of traditional Qinqiang operas”,classification of traditional Qinqiang operas is concluded systematically and reviewed intensively from two perspecti-ves of ontological characters of traditional Qinqiang operas and common perspective of opera study,sum up the value and significance of repertoire classification.The third chapter“Naming of traditional Qinqiang operas,focuses on contents that haven’t been covered by previous researches,mainly by analyzing the complicated phenomena of multiple naming and duplication of names and exploring underlying folk traits of the naming of traditional Qinqiang operas from the perspective of diversified naming of traditional operas.The fourth chapter“The Creation form of traditional Qinqiang operas and its Evolution”is the research foundation for the fifth chapter“Literature features of traditional Qinqiang operas”and the sixth chapter“Stage present of traditional Qinqiang operas”.From the form of folk performance dominated by the actor-centered system,dual artistic attributes,literariness and stagedness,of traditional operas are discussed in the fourth chapter.The evolution of traditional Qinqiang operas from street scene to scripted operas is teased out.In the fifth chapter,folk literature features of traditional Qinqiang operas are analyzed,with the focus on the relationship between script literature and folk psychology and folk culture.The public psychology and group collective aspirations expressed by traditional operas are explored,to analyze imaginative features of common people demonstrated by the shaping of the nobility and heroes in traditional operas.Diversified subject sources of traditional operas against the background of narrative symbiont are discussed,and at the same time,demonstration of Shaanxi culture including personality of Shaanxi people,folk customs of northwest China and folk customs in Gansu and Shaanxi by three major subjects of traditional Qinqiang operas including romance of heroes,folk legends and stories of gods and spirits are analyzed,focus on the analysis of the classic drama "Wudianpo" and "Dajinzhi" in the secular people show.The focus of the sixth chapter is the stage present of traditional Qinqiang operas.The reason why traditional Qinqiang operas are suitable for stage performance is closely related to the eomplete stagedness of these operas.This i5 resulted from the fact that,both creators and performers of traditional Qinqiang operas engage in performances.Performance of operas puts stage effect first,while performing forms,performing skills and special effects are all designed to shape figures,express emotions and demonstrate the plot more artistically on the stage.Excellent stage performance of famous actors has supported the achievement of a collection of classic operas,and a relationship of mutual prosperity and dependence is formed between the two of them.From the comparative analysis of southern opera "Pipaji" and Qinqiang opera "zhamei case",it can be seen that the traditional Qinqiang opera plays rooted in the folk have stronger theater,more suitable for stage performance.The seventh chapter contains researches on derivatives of traditional Qinqiang operas.Wide spreading of Qinqiang in northwest China has endowed it with common qualities of northwest culture.However,Qinqiang troupes and artists are different from each other in both organization form and best operas based on actual situation in different areas,and the spreading of operas also demonstrate different regional characters,thus traditional operas are more diversified.As the extensive discussion of researches on traditional Qinqiang operas,the epilogue focuses on the influences of the "Opera Reform" in the 1950s and 1960s on traditional Qinqiang operas,and introduces in the concept of "Cultural ecology of Opera genres" to discuss the fortune of Qinqiang in the new era.