On The Creation Of Zaju In The Middle Of Qing Dynasty

For a long time,compared with the degree of attention received by the Yuan Zaju and even the Ming Zaju,as the end of the Zaju art and the closest in time to the modern era,the Zaju creations have been simply regarded as the typical representative of the performance practice.And the decline stage of the art of Zaju,did not receive enough attention and objective evaluation.Although some scholars have recently made a relatively systematic study on the dramas of the early Qing Dynasty and the late Qing Dynasty,the Qing Dynasty middle-class dramas on the time series are rarely used as an independent research object.The status of the history of it is not commensurate with the relevant photos.This article is an attempt to conduct a comprehensive and in-depth study of it.The first chapter begins with the division of the middle of the Qing Dynasty and its background and drama history.It aims to explore the external environment related to the creation of Zaju in the middle of the Qing Dynasty.Specifically,although the various stages of the academic system are different,the mid-Qing Dynasty should generally refer to the Qianlong and Jiaqing dynasties,namely,1736 to 1820,and about 85 years old.Compared with the unsettled state of the Qing Dynasty and the change of the late Qing Dynasty,this period of nearly a century is a period of relative political stability in the Qing Dynasty.From the perspective of the history of the development of Chinese opera,the Qing Dynasty and the Jiaqing period are also an important stage of change and pattern reconstruction.The voices of various localities from the folk villages are full of vitality and eager to go to the front desk,while the positive sounds that the rulers follow are gradually declining.In response to the trend of the aesthetic change of the times,the relationship between the Department and the Department of Flowering has changed.On the other hand,the prosperity of the court drama can not be ignored for the development of the opera in the middle of the Qing Dynasty.The top-down demonstration effect produced by it is the necessary driving force for the continuous emergence of folk drama and literati creation.The second chapter is based on the statistics of the situation in the last chapter of the previous chapter.It is a microscopic study of the mid-season drama in the Qing Dynasty,and It is divided into three sections,namely,the early Qianlong period(1735-1774);the late Qianlong period(1775-1795);the Jiaqing period(1796-1820).Twelve playwrights with distinctive features and representativeness were selected from the above three stages,and a brief summary introduction of their life experiences and Zaju creation achievements was made in an attempt to show the Qing Dynasty from a more detailed level.Thus the basic appearance and development process of the middle-aged Zaju production could be shown.On the other hand,it analyzes the two remarkable phenomena among the playwrights who participated in the creation of the middle-aged Zaju in the Qing Dynasty.The first is the Manchu and Mongolian literati and their Zaju creations.The second is the Shandong Zaju writers who concentrated in the Qianjia period.The third chapter focuses on the content of the drama in the middle of the Qing Dynasty and the changes and innovations in the art form.According to the different orientations of the works,they are roughly divided into three categories: real history,persuasion and punishment,and lyricism.Because the study of the Qing dynasty period history is extremely prosperous,some Zaju writers inevitably use the method of studying to create,or to study history,or to write about the current events,making it an academic extension or supplement.In terms of ideological interest,most of the Qing Dynasty operas are based on the principle of being a human being and teaching.This aspect is derived from the reverence of Cheng and Zhu Lixue since Kangxi.On the other hand,the externalization of various deep contradictions in the feudal world made the literati feel the urgency of maintaining the sage of the saints.At the same time,the understanding of human nature's good and evil has also expanded.However,many works still adhere to the tradition of writing emotions,and relying on others to pour the chest in the block,showing various life feelings.The new art changes are mainly reflected in three aspects: First,the system is maximally shortened to a short period,marked by a large number of single-act short plays;Secondly,the borrowing of the "popular culture" factor can be realized by adapting the flower drama or introducing the theme in the popular novel into the drama;Third,the creation of Zaju plays a subjective and poetic culture and becomes an important means of writing lyrics.However,the above-mentioned various institutional reforms have finally formed a further weakening of the stage factors of the drama from the different aspects.The conclusion part of the thesis summarizes the main features and influences of the Zaju creation in the middle of the Qing Dynasty.