Research On The Origin And Evolution Of Yuanben

As a form of drama that emerged from the development of Chinese opera to the Jin Dynasty,Yuan Ben has long been a topic of debate in the academic community since Wang Guowei’s "History of Song and Yuan Opera" due to a lack of original materials.At present,the research on the name and essence of "Yuan Ben" in the academic community mainly focuses on the research of its performance form and system,the purpose of the original name of Jin Yuan,the relationship between Jin Yuan Ben and other forms of drama,and its impact on later generations of drama.Overall,the academic community still focuses on the study of the Jin Dynasty’s academic editions,with little discussion on the development of academic editions to the Ming and Qing dynasties,and a lack of systematic research on the origin and development history of academic editions.This article summarizes the clear development and evolution of Yuan Ben through numerous materials such as the records and descriptions of literati from different eras in Qu Hua,the names of Yuan Ben that have been passed down today,the ancient Yuan Ben named after "Yuan Ben",and the Yuan Ben compiled by modern scholars from Za Ju,Nan Xi,and novels.It explores the specific connotation and survival situation of Yuan Ben in different eras.The first chapter mainly discusses the definition of the college textbook,while also discussing the specific connotations of the college textbook in different eras.The final conclusion is that "Yuan Ben" is the base used by opera performers when singing,similar to the "storybook" of novels,originally referring to a type of humorous small play that emerged in the Jin Dynasty and had distinct characteristics in theatrical costumes and action performances.With the development of the times,the meaning of "Yuan Ben" has also been constantly changing,from referring specifically to a type of comical drama in the Jin Dynasty to referring to various meanings such as Za Ju,legend,various palace tunes,and even the overall performance of drama.The second chapter mainly discusses the issue of the form system of Jin Yuanben,and studies Jin Yuanben from two aspects: its performance form and music form.The final conclusion is that Jin Yuanben exhibits various characteristics in the form of performance,including: accompanied by music during performance;Having a certain theatrical performance structure and process;Strong foot movements;Special clothing and makeup;Fixed character roles and plot settings with a clean finish;The plot is simple;Funny and playful in style.Jin Yuanben has singing,dancing,and white performances.In terms of music system,Jin Yuanben can sing in all roles,usually with clear corners as the main singing style,and the casual singing style of the roles is similar to that of traditional Chinese opera.In addition,Jin Yuanben also differs greatly from Yuan Zaju in terms of palace tune system.The third chapter mainly discusses the development and evolution of Jin Yuanben from a vertical perspective of the development history of drama.The final conclusion is that Jin Yuan originally developed from Song Zaju,but no longer follows the performance form of "one scene,two sections" or "three sections" in Song Zaju,and replaced the opening part of the "Yan section" drama in Song Zaju with performance forms such as poetry recitation,stepping on Cuan,and various palace tunes.Yuan Zaju was born on the basis of Jin Yuanben.After the Yuan Dynasty,Yuanben often combined with Yuan Zaju,which had a more complex and rich content due to its simple storyline and short acting time.The opening part of Jin Yuanben had a significant impact on the wedge of later Yuan Zaju and the "vice ending opening" in Ming and Qing legends.The humorous and humorous style of Jin Yuanben’s drama also directly influenced the phenomenon of gags in later theatrical performances.The fourth chapter mainly conducts research on the actual records of existing screenplays.The author carefully identified these more than 50 theatrical interludes and ultimately identified 41 of them as more reliable.At the same time,based on the research methods of previous scholars,the author summarized some common features of theatrical interludes.At the end of the article,Appendix 1 is a factual record of the existing scripts of the academy,and Appendix 2 is a compilation of materials from the academy in historical Qu Hua.