Research On The Critic Style Of Opera In Ming Dynasty

The unprecedented prosperity of opera in Ming Dynasty not only produced a large number of opera works,but also derived a large number of theoretical texts.The rich content and thought of opera criticism in the Ming Dynasty make it easy for scholars to ignore the various forms of drama criticism.However,through the study,it is found that the style of drama criticism in Ming Dynasty,that is,the style of opera criticism is formed under the specific literature and culture,which contains the critics’s literary concept,critical attitude,aesthetic spirit and so on.It is worthy of the researchers to carry on the thorough research to it.This paper is divided into six chapters.There is an introduction before this paper,which expounds the research value and significance of the critical style of opera,and collates the theoretical achievements of previous studies.It can be seen that the attention of the academic circles to the critical style of opera has been gradually strengthened,and a large number of research results have been produced.These achievements are mostly concentrated in the study of specialized style,and the content and form of a style are explored in detail.However,the research results of synchronic criticism style are relatively poor.The first chapter mainly defines the concept of critical style and briefly discusses the background of drama criticism in Ming Dynasty.The emergence and development of critical style are closely related to the literature and culture of the times.The prosperity of folk culture in Ming Dynasty provides the soil for the style of traditional opera criticism.This paper,referring to Guo Yingde’s classification of style structure,analyzes the characteristics of the style of opera criticism in Ming Dynasty from four aspects:system,features of writing,form of literary works and style.The second chapter analyzes the contents and stylistic features of preface and postscript criticism in Ming Dynasty.The content of preface and postscript is extremely rich,including self-preface,comments on other’s works,and Theoretical exposition.The stylistic form is characterized by flexible volume structure,narration interspersed with comments in writing techniques,excellent in both content and language.The third chapter discusses the works and stylistic forms of the catalogue criticism in the Ming Dynasty,traces the origin of the catalogue style,analyzes the operatic catalogue works of the Ming Dynasty and its early period,and expounds the concise and rigorous style of the catalogue style,simple and accurate stylistic features,etc.Chapter 4th analyzes the rise,structure and stylistic form of the drama commentary in the Ming Dynasty.The function of the drama commentary lies in the interpretation of the opera tenor,the examination of the "Guan Mu",the appraisal of the language.Its criticism is characterized by "The combination of generalization and concrete gives priority to concrete,appreciation and criticism parallel to appreciation".Chapter 5th discusses the development and stylistic form of the "quhua" in the Ming Dynasty.Firstly,it defines the style of "quhua" as "the works of criticism and material,which is written in the note-taking style".The critical works of the Ming Dynasty obtain 13 pieces of the "quhua" in the Ming Dynasty.Thus,the paper analyzes the features of its flexible style and relaxed tone of writing.Chapter 6th summarizes the characteristics of the critical style of drama in the Ming Dynasty,and discusses it from four aspects:system,features of writing,form of literary works and style.It is found that in the style of traditional Chinese drama criticism in Ming Dynasty,there are numerous styles of writing,literary and poetic style,and intense controversy.On the other hand,different styles express different aesthetic spirits,Thus,the paper roughly summarized the characteristics of the style of opera criticism in the Ming Dynasty.