Research On The Evolution Of Opera Performance Theory In The Late Qing Dynasty And Early Republic Of China

The opera performance theory in the late Qing Dynasty and the early Republic of China not only inherited the theoretical achievements of opera performance before the Yuan,Ming and Qing Dynasties,but also added a lot of fresh blood to the development of the theory,occupying an important position in the history of opera performance theory.The late Qing Dynasty was a period when the outstanding artistic achievements of major folk operas were borrowed from each other.The changes in the industry system and music structure prompted the performance theory to move towards a new stage of development.The role theory was one of the theoretical focuses of this stage.The role theory is continuously deepened by combining with the traditional performance theory.The role serves the plot and mainly shows the character of the script.With the stage of martial arts,the functional attributes of martial arts are becoming more and more prominent.In the early years of the Republic of China,new breakthroughs were made in performance theory.The prosperity of Peking Opera and the application of the musical structure of the Banqiang stimulated the enthusiasm of the actors to innovate their voices,and thus formed a genre of opera based on individual skills.As well as the actor’s self-consciousness awakening,the actor actively participates in the creation of the script,and joins the discussion and research of performance theory.Therefore,the actor has become one of the main subjects of performance theory research.Under the promotion of Peking Opera,the aesthetic concept of opera has realized the true appreciation of both refined and popular.The continuation and extension of traditional performance theories such as singing theory and modality.Under the circumstance that the opera uses the board cavity,the theory of the pointed character,the group character and the part of the board tone will be further excavated.In the era of opera centered on actors,the number of commentaries on actors’ characters has increased,and critics have pursued actors to convey the complex emotions of characters in a hierarchical way in the development of the plot and to highlight the characters’ distinctive temperament.In general,the theory of opera performance in the late Qing Dynasty and the early Republic of China has developed and made breakthroughs.The development of the entire theoretical form of opera performance has continued to climb from the original high point until it reached a new peak in the theory in the early years of the Republic of China.