Tian Han’S Opera Creation Theory

Opera, such as Primitive dance, Jiao Di Opera of Han Dynasty, Chan-Jun-Drama of Tang Dynasty, the Yuan Drama, Ming Chan-qi, and The Local Opera after the middle period of Qing Dynasty is one of the art forms, which is based on the unique culture of China. With common effort of ancient playwright, actor and audience, it not only gives us numerous cultural achievements which are worth remembering, but also is an important window of China culture development and change. However, Due to the failure of the practice of civilization drama, A fierce critic on the drama thought art by Five four pioneer and the effect of writing style in the history of western literature, these studies are necessarily restricted to the professional field of opera or it is just from Yu Shangyuan’s National Opera Movement to Peasant Drama Experiment in Ding county by Xiong Foxi; from the exploration in the aspects of opera creation during Anti-Japanese War, the drama reform of "Driven to Join the Liangshan Rebels" until the opera beyond the old motifs after the establishment of PRC and the punctiform and fragmentary research in the eight model operas of the Cultural Revolution. These researches on opera history in the academic world always lack a continuous perspective and an interactive study with other literary style since The May4th Movement.In this aspect, the drama creation of Tian Han is a good starting point. His leader status in the theatrical world, the close relationship with opera artist and the same attitude between drama and opera, which makes his opera creation have certain continuity. In addition, he made the performers for the hero directly in his opera. The Drama with Sing and other artistic techniques in his drama creation show the influence that opera have on him. He also provided valuable experience for modern transformation of traditional opera by deep thinking and continuous practice of opera reform. Therefore, the research on process of development and the ideological and artistic features of Tian Han’s dramatic creation has a positive significance for a comprehensive understanding of Tian Han’s creation, a better understanding of modern writer’s artistic development path and a comprehensive grasp of modern China culture process.However, according to incomplete statistics, so far, there are only20research papers about the Tian Han opera creation which contains one master’s thesis and zero doctoral dissertations. Dong Jian and Tian Benxiang both have a fair evaluation for the ideological and artistic features of Tian Han opera in the biography of Tian Han. But they can not be systematic further because of the genre restrictions. Compare with the great achievement of Tian Han opera research, it reveals some unintentional or intentional omissions in the academic world. For that reason, this paper focuses on the analysis of Tian Han opera script. Through carding domestic development course of Tian Han opera creation, it hopes to obtain a comprehensive understanding of Tian Han’s creation at the most extent, summarize the useful experience of his opera creation practice and have an effect on the practice of opera reform today.The main body of the thesis consists of three parts:The first chapter mainly introduces the basic features of Tian Han’s opera. Drama is the conflict of the art, the success of a script, largely depends on the setting of conflict. the conflict set of Tian Han’s opera has the characteristics of the "outside", there is no difficult to resolve the conflicts among characters in "Xin Jiaozi","The New Peach Blossom Fan" and other early works, Due to the presence of external forces of aggression, it can clear the air, make friends, Against the common enemy and encourage each other, Drama has become a tool to Express feelings to save the country and Wake up the public, Tian Han’s consistent hope plays help change reality, actively go into the world, and fend off the spirit, at the same time, also reflect the features of lyricism and romantic in Tian Han’s specially drama, showing the recovery of the affective characteristics of Chinese traditional dramas((such as "autumn in the Han Palace"); In the late operas, such as "Jin Lin Ji","Xie Yao huan,""The West Chamber", the cause of conflict between the characters is mainly due to the powerful feudal forces and stereotypes, The solution often rely on external forces. It Not only reflects the vision of Tian Han sober realism, but also reflects his good wishes hoping to make up for deficiencies in real life by his literary work, and reflects the idealism characteristic shared by Tian Han plays. In addition,"The temples are carnivorous, asked Fisher and woodcutter the loyalty", Traditional dramas pays more attention to emperor, gifted scholars and beautiful ladies. Dramas of Tian han focus on shaping the generous chivalrous characters in the bottom and Staunch loyalty female characters, it Not only reflects the generous character of Tian Han, but also reflects the changes of the theme of the times. Tian han persistenly pursuits for the body and spirit, even if his plays has the heartstrings of emotional power, there is some inherent defects in his works. The second chapter summarizes the contribution of Tian Han’s opera in the modern opera. Firstly, it shows the injection of the concept of modern, In the reinterpretation of Tian Han, the main failure of Chongzhen is not personal reasons, but the factors of system. The various behavioral and psychological activity before his death, and told the children to escape and to be a common person, make the opera of Tian Han have a distinctive color of "people". In addition, Tian Han’s drama creation has the obvious characteristics of humanity, which showed for the traditional poetry reference and adaptation, for the use of allusions and transformation and the practice of accordance with sound word. Lyrics has strong musicality, the plot is legendary. Thus it had changed the situation of separation of traditional Opera and the literature of the late Qing dynasty. The aspect of character language and stage in the drama, Tian Han’s Opera reflects the dramatic model technique, so that the drama is more close to the modern life, Open reform of modern Chinese Peking Opera.The third chapter discusses the practice of Tian Han opera in Chinese opera nationalization and China aspects. Traditional opera as a kind of independent art genre, the series, guide, play has its unique requirements; therefore, to satisfy the audience’s reading expectation, we must make the opera as "play" look. nationalization in Tian Han’s opera firstly manifested in his Traditional Opera repertoire for borrowing, national culture gene displaying language rhetoric, as well as the application of cross-dressing men, misunderstanding, coincidence, gag and other practices. The second performance is Redefining traditional loyal opposition, because of joining nation concept of modernity, such as the concept of friendship, for the sake of justice and mortal combat behavior, brings more awareness of the situation; Heavy feeling and heavy righteousness of China’s cultural tradition is covered by the light of modern concept of freedom, characterized by a strong anti-feudalism consciousness and democratic consciousness, shows a possibility of national cultural tradition to the newborn, and today this pair how we respond to the local opera, Peking Opera and the crisis of critical inheritance of the traditional culture, how to find the Chinese culture development direction in the future and the new focus of literary study and so on, have great reference significance.