From Lahun Air To Liuqin Drama

Liuqin drama, bom out of Lahun air arising in the midst of Qing dynasty, wasaccepted by national cultural systems in 1950s, and now has grown to be the big regionaldrama category between the areas of Lunan and Subei with its obvious effects on otherdramas of other areas of China. In the present paper, some certain factors withcharacteristics of Age in Lahun air have been used to refer to the art traits and survivalstate. Liuqin drama, a new name formed at the beginning of new China, was used to referto its states of all kinds under the new cultural systems. In the dynamic courses of changefrom Lahun air to Liuqin drama and from folk expression for begging for food toregional drama flourished in the areas of Su, Lu, noumenal changes of art andtransformation of its social functions are the key problem concerned in this paper. Thefirst topic is the transformation of drama music. Lahun air, called Yixindiao by actors,means that it can be performed freely based on its basic melodies and be sung withrelative liberty.Having experienced the processes of recording, cleaning up, air confirming, musicconfirming, music instruments improving, accompaniment enriching, new air creating etc.since 1950s, the Liuqin drama has successfully finished its transformation of fromYixindiao to a new form with regular performance. And the drama lists's transformationis the following topic. As there are no fixed texts to be referred to, the actors of Lahun airsometime had to perform in a certain Improvisational way according to the requirementsthrough applying the way of Pianzi. Liuqin drama finished its transformation from Briefto play book through drama lists recording and lines'fixing in 1950s.During the transformation course of the art itself, the inner organizations and itssocial functions of Liuqin drama have changed simultaneously. They are as the following:switch ef major part's status, transforming of performance institute, changing of artinheriting and the relations among the actors, audience and the government. And theexterior factors, urging the change of Liuqin drama, are macroscopical decision makingof literature policies, direction by the new literature staff and exercises of all previousperformances. Since the 1990s many excellent lists of Liuqin have been produced, someof which are often chosen to perform in Peking and the Liuqin has been collected intohuman immaterial cultural heritage records. Many actors have been awarded "plumblossom" prize for their best performances. All these mentioned above show that Liuqin drama has grown to be a big drama category with powerful effects and representativeness.If the transformation of Liuqin drama occurred in 1950s is the first leap in its history, thechange in 1990 can be no doubt called the second one. The main difference between thetwo leaps is the driving force. The first leap rely on the exterior driving force, is a passiveprocess. Compared with the first leap, the second one is rely on the inner forces, which isan initiative choice of the drama that makes it close to the popular drama categories andnational excellent projects of art.The change of from Lahun air to Liuqin dram, a small regional madrigal to a bigdrama, is actually the common story of many kinds of dramas in China.Using the Liuqin drama as a representative, a state troupe as an example, the 1950s asthe time period of research, the paper has displayed the changes of the art and theinheriting of social role in the course of transformation of history and consequently,revealed the relationship between the social forces and art forms.