A Study Into Historical Records Of Opera Seen In The Notes Of Late Ming Dynasty

The literary sketches of the late Ming Dynasty are abundant and of high value,which is a reflection of the cultural psychology and the spirit of The Times and also a huge treasure house of traditional Chinese opera historical materials.Although these historical materials are scattered.they are even more precious when they are made into beads.No matter it is drama theory.the life of the composers,the anecdotes of the actors,or the scene of the drama.the review of works,all kinds of drama skills.can be found in the depiction full of personality.The details and uniqueness of these occasional remarks undoubtedly enhance the value of the historical data from the literary sketches in the history of drama and drama criticism.By classifying and excavating it,with the help of relevant historical data,we can restore a real Chinese opera world in the late Ming Dynasty.This paper is divided into five parts.In the introduction,the relevant background of "literary sketches and the Late Ming Dynasty" is introduced,including"Characteristics and classification of literary sketches" and the time definition of"Late Ming Dynasty".At the same time,the research summary and the significance of the topic are introduced.The first chapter makes an overview of the historical materials of Chinese operas seen in the literary sketches of the late Ming Dynasty,extracts the deep links between authors of the literary sketches and operas,explores why there are so rich historical materials of Chinese operas,and classifies them in order to produce the outside and bottom cognition of them.The second chapter examines the historical materials about dramatists’ practice in the literary sketches of the late Ming Dynasty and sorts out three statements with certain cognitive updating significance,for example,digging the opera literacy of Jin luan,known as the Sanqu writer,clarifying Zhu Enchuo and Zhu Xianjie’s attributions problem of chaos,and confirming the name of He Liangjun’ brothter.The third chapter focuses on the literati drama aesthetics reflected in the literary sketches of the late Ming Dynasty,showing the characteristics of love,beauty,novelty and enjoyment in the emotional aesthetic,stage aesthetic and functional aesthetic,which is closely related to the fashion of the Times.The fourth chapter discusses the drama acting ecology,presenting the plays that were frequently staged in the form of data tables.The feedback of the plays reflects the good interaction between the stage and off the stage,and the relationship between actors and directors is also more integrated.In a word,the second,third and fourth chapters respectively correspond to the dramatists,the opera view and the opera performance.These three levels are "trinity" and three-dimensional intersection,fully showing the activity and characteristics of the opera circle in the late Ming Dynasty.