| This paper takes the buffoonery in theatrical works of traditional opera asthe research subject, which is valuable in the realm of literature and art of the Chinesenation. The traditional opera owns twofold characteristic of literature and art. This paperstudies the buffoonery from four crucial points. The exordium explains the concept of thebuffoonery in theatrical works and demarcates the class of the two concepts. The origin ofthe buffoonery and the performances before the traditional opera came to maturity arediscussed in the Chapter 1, which had great influence on the buffoonery. First, thetraditional opera is full of the optimistic and comedic sprit. Second, the actor in the pre-Qindynasty and the Can-ju Xi in Han and Tang dynasty, the Zaju in Song dynasty, the Yuanbenin Jin dynasty, the Nanxi in Song and Yuan dynasty exert great influence on the buffooneryof the traditional opera. Chapter 2 is the core of the paper, which summarizes subsistenceof the buffoonery in theatrical works. First, on the basis of doing a lot of reading andaccording to language use or action use which makes funny, we divide the buffoonery intwo classes, and several subclasses. And according to the relationship between thebuffoonery and the dramatic structure, we divide the buffoonery into two ways. One hasclose relation with the structure and pays attention to the function of the buffoonery, so weput it into Chapter 3 to discuss. Another has nothing to do with the structure and paysattention to the performances. On the basis of Chapter 2, Chapter 3 analyses the importantfunctions and status of the buffoonery in theatrical works, and discusses the problem fromfour points: how to adjust the aura on the stage and the rhythm of the performances, how tofigure vivid characters, how to adjust the structure, how to solve the practical problems onthe stage. Chapter 4 propounds the style of the buffoonery in theatrical works, theearthliness and naturalness are the most valuable and obvious features.
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