The Study Of Zhezixi

Zhezixi(one act play) is one unique form of performance in the Chinese Opera. It is thin and small in size,but actually melts Chinese Opera's essence.This paper presents a study about the history of Zhezixi's development in the Ming and Qing Dynasties,the transformation process from Quanbenxi to Zhezixi,the arts achievements of Zhezixi,and Zhezixi's literary value.As to the literature materials, this article uses the basic materials of dramas in the Ming and Qing Dynasties,mainly to find out Zhezixi's performance entironment in the two dynasties from the classical literatures(such as novel,note,diary,etc);to understand the accumulation and evolvement of Zhezixi's Chumu(scene) from Zhezixi's anthology;to figue out Zhezixi's performance essence from its play-script with stage directions and Shenduanpu(performance indicators of sing,speak,act,fight in the play-script).As to the research methods,this article mainly uses traditional method in studying table of contents edition and textology.The full text,studies Zhezixi's historical development as well as its performance characteristic and its literature characteristic,vertically and horizontally,attempts to make a three-dimensional contemplation to Zhezixi.This paper is divided into the following sections:Introduction,gives a brief overview of the research situation on Zhezixi in the academic circle since the 20^th century,as well as the research significance of this thesis,the research value of this article and limits several core concepts in the paper.The first chapter,elaborates the history of Zhezixi's developments in the Ming Dynasty.By reorganizing and analyzing massive historical materials including Zhezixi anthology as well as novels and diaries,this chapter dearly outlines Zhezixi's appearance in the Ming Dynasty:emerging in the Zhengde period;developing in the Jiajing,Longqing period;thriving in Wanli period;prosperous in Tianqi and Chongzhen period.The second chapter,elaborates the history of Zhezixi's developments in the Qing Dynasty.In the Qing Dynasty,the massive Zhezixi plays dominate the stage,the Zhezixi actors and the Zhezixi troupe are standing in great numbers.This period witnessed the climax of Zhezixi's performs,when the plays and the performance moved to be matured and shaped.This chapter stresses on the play Zhuibaiqiu, studying its formation and its various versions,and the performance of Zhezixi in Huabu and Yabu.The third chapter,from Quanbenxi to Zhezixi——gives a comparison between 60 kinds of plays and Zhuibaiqiu.This chapter gives a detailed comparison on the title, the role,the Quwen(singing parts),the Binbai(spoken parts) and the stage prompts in the 172 scenes in the same 20 plays between 60 kinds of plays and Zhuibaiqiu.The contribution of such a comparison to research on Zhezixi,lies in that it demonstrates the development from Quanbenxi to Zhezixi in a dynamic way.Besides,from such a comparison,we can find several ways of the Zhezixi's formation,as well as the developing process of the 12 roles in Jianghu and the special arrangement of stage, which is the innovation of this article.The fourth chapter,probes into the arts achievements of Zhezixi's performance. Zhezixi's performance promotes the further division of roles and relative functions in plays,which further promotes the formation of unique performance styles and various performance schools.This phenomena display especially apparent in Kunju.It can be said,that the formation of various schools not only makes the Kunju opera be inherited and developed,but also urges some of the Zhezixi plays to be shaped into the roles plays,which can be a model of the performing arts.This chapter,focus on studying the direction play-script Shenyin Jiangulu,discussing the conception of the director,and comprehend the essence of Zhezixi's performance from some of the Shenduanpu.The fifth chapter,elaborates Zhezixi's textual value by analyzing the Zhezixi plays in Zhuibaiqiu's Huabu scene.This chapter mainly gives a micro-study on the Huabu Zhezixi plays in Zhuibaiqiu.From these Huabu scene,we can clearly find the transition from Qupai-style plays to Banqiang-style plays,as well as the communication among Kun-Tune,Yiyang-Tune,Kunyi-Tune in the south and Bangzi-Tune from the north.Such a study,can provide valuable documentation materials for our earlier local operas study.Conclusion,makes a brief summery to the full article.