| This thesis takes the theatrical activities of eight counties governed by Changzhou City as research subjects between1st year of Emperor Shunzhi (1644AD) and3rd year of Emperor Xuantong (1911AD). As a sample of scholar culture of Qing Dynasty, the penetration and influence of Changzhou’s scholar style on its theatrical circles are not only manifested through the drama creation, family troupe’s activities, keeping intimate relationships with actors when watching drama and poem and comment writing of the scholars, also it has crucial influence on female group’s acceptance towards drama and the folk’s dramatic activities. Thus this thesis has mainly chosen four principal bodies (including the dramatist group, the scholar group, female group and the folk with an elegant appetite for drama) to undergo the research, respectively examining scholar style’s influence on the activities of four principle bodies mentioned above and thus forming the features and characteristics of Changzhou’s theatrical circles in Qing Dynasty. This thesis is composed of two parts, with Part One focusing on dramatist group and the other taking the rest of the three principal bodies as research subjects.The total number of dramatists springing up in Changzhou of Qing Dynasty reaches fifty-four. Though the drama is large in number, rich in achievement and significant in influence, it lacks complete study. Therefore this thesis, following the sequence of history course in the first three chapters in Part One, concentrates on dramatist group’s creative activities and the characteristics of its time in three individual periods of time:the beginning era of Qing Dynasty, the mid Qing Dynasty and modern times. The first chapter targets the dramatist group at the beginning of Qing Dynasty, explores the imperial examination and status in party service, family network, creation circumstance of nation subjugation and shogunate, creation notion of memorizing the talented and romantic, and then concludes the influence on Changzhou’s drama creation by the continuation of scholar style, which is represented by the party of Donglin and Fushe during the end of Ming Dynasty and beginning of Qing Dynasty. In addition, by combining the creation of Wanshu, Zhengyu and Ji Yongren, it expounds the reciprocal relationship and final integration of "Wen" and "Zhi"(cultivation and congenital quality) in Changzhou’s drama at the beginning of Qing Dynasty. Research on dramatist group in mid Qing Dynasty in Chapter Two, focuses on the group’s new structural changes. Wujin and Yanghu gradually took the place of Wuxi and Yixing at the beginning of this dynasty, thus became the most densely inhabited region of the group during the period of Emperor Jiaqing and Daoguang. Also, the ethical relationship and drastic declination of their dignity and status have constituted the group’s structural attributes at this time. Correspondently, the dramatist’mentality and creation features were embodied in depressed mood and the drama of "Xie Xin", official pursues and chant common practice of society, internal tendency of gifted scholars and creation with playfulness. Under the influence of study and writing style during the period of Emperor Qianlong and Jiaqing, the drama notion also shows refinement and righteousness. Research on dramatist group in modern times in Chapter Three, by combining the social situation and scholars’ mentality in southern regions of Yangtze River during the period of Emperor Xianfeng and Tongzhi, this thesis points out that the ideological trend of practical utility was also an important constitutional notion. Through professional philanthropist Yuzhi’s typical dramatic activities, especially the educational drama’s embryo of modern significance fostered in Shu Ji Tang Jin Le, it reconfirms Yuzhi’s status and value in the history of modern drama. After Yuzhi, Changzhou’s dramatist group, who were active in Shanghai’s journalism during the period of Emperor Guangxu and Xuantong and several of who also held the membership of Zhonghui Party and Nanshe Party, had successfully finished the transformation from traditional literati to modern intellectuals. They actively promoted the era meaning of drama bearing "Tao" and injected advanced thoughts of enlightenment and reformation. This not only promoted the development of history, but also extended the scholastic culture’s positive influence on drama creation.Part Two respectively focuses on the scholar group, female group and the folk with an elegant appetite. Chapter Four targets at the scholar group, who dabbled in dramatic activities outside of the dramatist’s circle. By reviewing Liu Siguan’s drama watching and poem writing in his whole life, this thesis displays a restricted view of the scholar’s motion and spirit comfort embedded in dramatic activities. Poems written by scholars, among whom Zhao Yi, Zhao Huaiyu and Hong Liangji were the representatives, not only described the drama’s cultural ecology of Qing Dynasty in different periods, regions, spectacles and circumstances, also it has become rich and varied drama notions. By analyzing the stories and state of mind of those, who maintained an intimate relationship with actors and who are represented by Chen Weisong, Zhuang Peiyin, Zou Yigui and so on, the author made a conclusion that such culture was intertwined with both grace and vulgarity, justice and viciousness, revelry and confession. Resorting to the rising of man of letters, family troupe’s activities became a common practice and also another way of expression of scholar style. Research on female group’s acceptance towards drama in Chapter Five shows that the differences between the concepts of literature and drama held by Changzhou female and that by other southern regions of Yangtze River, lie in their conscious acceptance towards mainstream utterance influence from masculinity and their endeavor towards orthodox values. Yet female’s acceptance towards drama, considered to be boundary overstepping, serves precisely as a living example of scholar style’s influence on Changzhou’s theatrical circles. From the remains of ancient platform groups in Changzhou and Wuxi nowadays and historical relics and documents such as dramatic inscriptions, documents from historical relics areas and records of poems and essays, the general research on dramatic activities among the people in Chapter Six sketches a prosperous situation of dramatic activities among the ordinary at the beginning of Qing Dynasty in Changzhou. The thesis considers that cultural consumption did not rise in Changzhou society, which was based on small-scale peasant economy, until the beginning of the Republic of China is the reason why it is more closed compared with Shanghai and Suzhou and its old customs and rhymes were entirely better preserved. The officials and squires not only played a role in the renovation and maintenance of temples and stages, but also injected orthodox ideas into the folk. Kun Opera was still widely performed until the end of Qing Dynasty and became "Changxi Singing Play", one of the artistic origins of Wuxi Opera, thus enabling the scribble class to make an impact from top to bottom in aesthetic habits. |
PDF Full Text Request