Study On The Form Of Music And Dance Drama In Han Dynasty

The ancient Chinese drama gradually evolved from the sacrificial song and dance in ancient times to the drama form of "song and dance performance story".In order to discuss the evolution of the form of ancient Chinese drama,the previous scholars sought the answer from the textual textual research of "xi".However,"xi" was only one of the early forms of ancient Chinese drama.The evolution path of "drama" can only represent the evolution direction of the early form of Chinese ancient drama.The sacrificial music and dance in ancient times contained the germ of Chinese ancient drama,while the music and dance in the Han Dynasty was the transition of Chinese ancient drama from music and dance to song and dance.This paper will use five chapters to develop the discussion.The first chapter discusses the specific meaning and performance form of "xi" in the Qin and Han dynasties.Through the exegetical study of the word "xi",it is found that "xi" has the tradition of martial arts from "?";From "?" has the nature of the military activity;From the "?" attack sacrificial function.Through the use cases of "xi" in the Zhou Dynasty and the Warring States Period,it is proved that "xi" is a juedi performance with the martial arts tradition and the function of sacrifice.In the Qin and Han dynasties,"xi" in the performance form of Juedi,by the ancient myths and legends and folk stories,such as the formation of "Chi You xi","East China Sea Huang Gong" Juedi story drama form."xi" is not a general term of ancient Chinese drama,but a specific form of performance.In the Han Dynasty,not only Juedi showed the morphological characteristics of drama,but also songs and dances and acrobatics in the Han Dynasty.The early form of Chinese ancient drama was a combination of various "plays".The second chapter discusses the music management organization of the Han Dynasty."xi" is only a case of the evolution of ancient Chinese drama from music and dance to drama.The adjustment of management organization and function of music and dance in Han Dynasty had a profound influence on the evolution of music and dance to drama form in Han Dynasty.The music management organization of the Han Dynasty was composed of three parts: Taile in charge of the ancestor sacrifice,Yuefu in charge of the worship of the natural gods,and Huangmen guchui in charge of the Royal ceremonial.Compared with the music institution of the Zhou and Qin Dynasties,the Han Dynasty inherited the Taile of the Zhou and Qin Dynasties on the one hand,and Taile took charge of the Sub Temple Yale.On the other hand,expand the authority of Yuefu and set up Huangmen advocacy.To be specific,the Yuefu's authority was expanded through the establishment of a captain in charge of music.Yuefu had the function of collecting poems into music,which expanded the sources and channels of music and dance in the Han Dynasty.At the same time,the advocating of frontier region in han dynasty,Guchui music into the royal ceremonial music,as a ritual music,also used to reward the military.The adjustment of the organization and function of the music department in the Han Dynasty not only expanded the source channels of music and dance,but also absorbed folk music and dance from the Western Regions.It also made the Han Dynasty music and dance from the interpretation of rites and music to entertainment and appreciation of the change,the formation of music and dance performance form.The third chapter discusses the performance form of Han Dynasty music and dance.Under the system of rites and music in Zhou Dynasty,poetry was one of the channels for the emperor to listen to politics.was one of the channels for the emperor to "listen to government".Following the tradition of collecting poems into music in the pre-Qin Dynasty,with the participation of narration,the Han Dynasty music and dance realized the transformation from "listening to politics" in the pre-Qin Dynasty to "observing politics" in the Han Dynasty.Song,dance and even acrobatics performance constituted the "performance" of music and dance in the Han Dynasty,while the narrative core of song and dance words constituted the content of music and dance "narration".Under the appeal of "observing politics","observing" and "performing" form a two-dimensional interaction.The separation of "performance" and "narration" during the retention of the performance form of the Han Dynasty music and dance is preserved in the Han Dynasty music and dance painting stone(brick),music and dance figures;The song and dance lyrics of the music and dance are preserved in the handed down documents,forming the Yuefu poems seen in later generations.The performance forms of Han Dynasty music and dance are very open and innovative,which are mainly reflected in the following two ways: creating new music and dance by modifying the theme and imitating the ancient theme of Yuefu;The performance form of Han Dynasty music and dance is a transition form from pre-Qin music and dance to the "song and dance story" of ancient Chinese drama.The fourth chapter discusses the organizational form of music and dance programs in the Han Dynasty.In the Eastern Han Dynasty,the performances such as singing and dancing,juedi,xianchang,illusionart and chariot were called "Bai Xi".Through the double verification of handed down documents and cultural relics of music and dance,the " Bai Xi" in the Han Dynasty's music and dance shows a program block structure in the form of program organization,and "Bai Xi" is actually a collection of all kinds of programs.The clusterstructure of music and dance programs forms the secondary "categories" according to the principle of belonging to the same category,and finally presents the clusterstructure of "Bai Xi--category--program".The ensemble structure of music and dance programs is very flexible,which can be adjusted according to the specific requirements of performance time and performance venue.It can not only use several categories for joint performance in large-scale squares,but also select several categories of classic programs to be used for entertainment in the hall of the Basement of officials and digniaries.In music,dance,opera in the highly developed individual programs,the formation of classic repertoire.The fifth chapter textual research on the property of Han Dynasty classical repertoire.Due to the looseness between the programs and the groups of different categories,the group structure based on the program can not only increase or decrease the programs as time goes by,but also mix and match the classical programs according to the likes and dislikes of the host and guest during the performances in squares,gardens and halls,which promotes the generation of classical music and dances in the Han Dynasty,such as Chiyou xi,Huanggong of the East China Seas,Gongmo Dance,and Performances by actor meng.The appearance of classical repertoire made the program named after narrative content instead of song,dance or acrobatics.This made the later scholars mistakenly believe that the ancient Chinese drama had already appeared in the Qin and Han dynasties as a mature drama for reproduction.Objectively speaking,the classical repertoire of the Han Dynasty is only the result of repeated reproduction of music and dance,repertoire is a stage feature of the evolution of music and dance to drama form in the Han Dynasty.