| The thesis studied each prevalent folk art in Song and Jin Dynasty in detail, and classified it into four parts: musical dancing, talking and singing, pre-drama and BaiXi. Moreover, the relation between the folk art in Song Dynasty and drama in Yuan was carded. The study belongs to the history of Chinese traditional opera, which broadened and deepened the study of the system and origin of every folk art in Song Dynasty as well as the artistic origin of drama in Yuan.The introduction has introduced three issues. First, it emphasizes the importance of the study. Then, the conception of folk art is defined. Finally, the general situation of the study is presented.The first chapter studied the relation between the musical dancing and drama in Yuan. There are five kinds of musical dancing in Song Dynasty: ZhuanTa, DaQu, FaQu, QuPo and DuiWu, which are closely related with drama inYuan .The second chapter studied the relation between the talking and singing folk art and drama in Yuan. The thesis classified the talking and singing folk art into two parts. One of them gave priority to the singing, including nine kinds: Ci, XiaoChang, PiaoChang, JiaoChang, HuoLangEr, TaoZhen and YaCi, GuZiCi, ChanDa, ChanLing and ZhuGongDiao. The other gave priority to the talking, represented by ShuoHua.The third chapter studied the relation between pre-drama in Song Dynasty and drama in Yuan. The pre-drama is classified into two parts. One is Song ZaJu and Jin YuanBen, which were played by real people. The other is dummy drama and shadow play, acted by phony people.The forth chapter studied the relation between Baixi in Song Dynasty and drama in Yuan, which includes two parts. The first part made a brief introduction and classification of the Baixi in Song Dynasty. The second part focused on the influence of the BaiXi on the drama in Yuan.The last chapter is the summary, which gave an overview of the content and the origin of the drama in Yuan, including its music, literature and playing systems.
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