The Research Of Female Drama Creation In The Ming And Qing Dynastyies

During Ming and Qing Dynasties era of female literature studying, we found a woman who not only created a lot of Ming and Qing Dynasty poems, the text Words, but Style complexity of the genre, drama, legend, storytelling, the novel also actively involved in creative and comments .But Opera is the creation of the Ming and Qing women in the academic extremely cold, either alone or scholarly writing papers are woefully inadequate, lack of women's Drama. Many researchers have only opera Xu Fuming, Mr Wang Yongkuan, E-ting, a handful of mainland scholars on the life of some of the Ming and Qing female opera writers do the relevant research. Some scholars, such as Ye- Xiaowan, wuzao white female opera writer for the individual case studies. However, in a very long historical period, many female operatic works of theMing and Qing Dynasties of being buried, Misunderstanding or belittle the circumstances. When we stand on the 21st century today, and re-determine the Ming and Qing female opera creativity, calm and objective attitude should look at the true face of the Ming and Qing dynasties, operas, Analysis of the Ming and Qing dynasties, which emerged from the creative thinking of opera and opera performance Meaning, and the right to inherit and develop traditional Chinese opera, Chinese opera in the history of this to their positioning and objective. To this end, this paper attempts to women's perspectives and experiences of women, female operatic version of the collation and verification on the basis of the Ming and Qing Dynasties, so that Women who are really creative theme and narrative form intent crime.First, in Chapter 1 , female opera creative thesis examined the historical and cultural background of the Ming and Qing Dynasties, Theatrical Creation of the Ming and Qing dynasties, the rise of historical and cultural fate.In Chapter 2, The main thesis for the basic texts of the Ming and Qing Dynasties female opera finishing with textual research. With the country's main library, related to the Chronicles, experts in the relevant bibliography on with the opera search inquiries and research, the women learned the Ming and Qing Opera artist at 26, with 65 species recorded opera, drama, 14. Legend 51. 24 existing opera, Opera 7, Legends 15, the remnants of the two legends. From my current literature review and research, women's operas from the late Ming is the first to be ascertained Ma-Xianglan, until the late Qing dynasty, with Ms. Liu-qingyun. Ming and Qing female dramatists have left a precious heritage for future generations.In Chapter 3,Papers on the existing text to read and look at the Ming and Qing female opera that, Opera in the Ming and Qing dynasties, the choice of the main themes of the opera performance in carrying forward the tradition, But family members of the Ming and Qing Dynasties female opera with women and men have different perspectives, women express their feelings, survival, the pursuit of value. , as well as the female spirit of anxiety and helplessness. Female characters are very pessimistic about the prospects for their life. Drama is considered more prominent female performance and the pursuit of self-worth and achieving gender, marriage, Contained in the family or fatalism among the various conflicts, including the dialogue with the traditional ideology and ethics questioned Ming and Qing women not only perceive the true survival situation, but it has the ideological evolution of the times and explain the significance of women's emancipation.In Chapter 4,This paper analyzes the Ming and Qing dynasties, the performance of traditional operas in the opera's artistic inheritance and breakthroughs. Ming Ming and Qing female playwright who continue to Lyric Opera of the mainstream tradition, But in the narrative framework of opera performance figures do not pay attention to the dramatic conflict and the use of the stage space into virtual, Monologue to the stage to advance the plot. Also used in the Ming and Qing female playwright dream paintings cents male imagery and other stage traditional operas, from the perspective of women.tage show of such images from the male connotation of performance and aesthetic ideals.In Chapter 5,Commenting on the paper version of the Ming and Qing dynasties, the deportment of a man and came to the opera phenomenon. Ming operas disguises herself as a men so important artistic tradition, and the play depicts in the Ming and Qing female playwright protagonist, break the shackles of traditional gender roles and the self-publicity horn at the same time, strive to explore ways of self-female practice, This male playwright with similar themes have completely different connotations. It also questioned from different angles, to reflect on the role of female gender stereotypes and social norms, so with "subversion and Reconstruction" Gender and cultural significance. In Chapter 6, Commenting on the existing thematic essays occupy half of the most prolific female version of the Ming and Qing Dynasties female operatic dramatists Liu -Qingyun. Real plays its women in the late Qing to suppress social unrest andrsonal inner thoughts and feelings between the cracks double pursuit. Women wandering between the traditional and modern ideas and hesitant.In short, the Ming and Qing dynasties, Opera is impressive not only in terms of quantity, but women feel feminine perspective and opera performance, Ming reappearance of our true history and the reality of survival in the lives of women. women's creative approach and creative expression, especially from male to female image of the playwright's fine, the deepest expression of a place in the history ofhinese opera. Meanwhile, the Ming and Qing dynasties, for the opera version of the real feelings of women listened important platform. Chinese women is of great value for research into the history of the same significance.