The Lyrical Characteristics On Ancient Chinese Drama-Measured By Traditional Play Theory And Western Play Theory

Ancient Chinese drama before Yuan Dynasty is neither mature nor has no argument, so naturally there is no understanding history of it. The understand history of the dramashould begin from the Yuan Dynasty when the drama stared consciously, from the firstmusical monograph to the present person Wu Mei, the traditional tunes mostly emphasis on the palace law and the literary elegance and its works are after crowned by the palace low and adjusting the spectrum, but it is not hard to understand the meaning of the ancient people. This is the reason why ancient drama is named by tune. In the history, there were lots of people who could stress the story of the drama, the most outstanding wad Li Yu. The drama is also called the legend and the legend means to pay attention to the perfunctory story. There were also many commentators who stress the tune on the stage,. They thought that opera should be suitable for playing, this is the consciousness to the drama theater of the ancient people Drama has the natural character and most of it is composed by the spoken language, however, the chaotic ball does not pay attention to the text but to the performance all is the drama shape of the illustrious theater character sampling speak, the development of opera concepts and forms just like this .At present, Wang Guowei is the first person who starts to study the new surface of the opera, for he introduced the western poem in the drama. From the very beginning, the opera was regarded as the narrative art; its research also took the same way as theplay-----just combine the plots with the conflicts as to contract itself. What is thereason? The reason is that opera is not the so-called narrative art but the lyrical art. The story in the opera just serves for expressing the feelings.Ancient Greece Aristotle's "Poetics" and the German Hegel's "Esthetics" have the more profound dramatic theory and the bigger effect than others. The core of Hegel's drama is the theory of conflict. Aristotle's "Poetics" is the foundation of the dramatic theory. In the classical period, its theory was defined as "the unity of action", for a while it was regarded as the perfect rule that was abide by. Soon in the romantic period, "the unity of action" encountered the sever critique. The most valuable part of "Poetics" is the plot theory, and there are few chapters dealing with the time and place, so it is difficult to discuss it by the plot. In order to summarize the essence of "Poetics", "The entire plot saying" is more accurate than "the unity of action".If measured by the western play narrative theory, a renowned masterpiece may become an unsuccessful works. Aristotle's "the entire plot saying" stresses that the plot structure must be integrity, and the action must be linked. Hegel's "the contradictory theory" advocates that a play can only display one conflict, the conflict must come from the action of a will body and the conflict should be the driving force for the plot development and be the inevitable connection between the plots. However, the narrative sense of Chinese drama is far from this request. No matter drama, legend or local opera, their plots are often heterogeneous: may be an opera has many separated stories, or let the author instruct the whole story, stopping improperly, or improperly continuing in a sustained, either initially resembling the sad matter finally decorated by getting—together, revenge, promotion or getting rich, in a word, the beginning is sleepy but the end happy.However, if seen in the lyrical angle, an article which is poor under the narrative perspective is often great. Not only does the dance and music please people, just reading its words can have the charm of moving the soul. This is the reason why for hundreds of years "Dou Eyuan" and "Indus rain" have been regarded as the summit of the literature and have such a reputation. If we can experience it personally at theater, it can make us rise into the heaven.The formula is the special theatrical language of the chaotic ball; its appearance is closed linked to the specific history and culture. When there is no such history and culture, the formula also loses the basis of displaying life, because the time has already chosen the instant art. Perhaps, just like the poems in Tang and Song Dynasty, the drama, the splendid art in the history, will draw back into the historical exhibition to be appreciated distantly.