A Study Of Li Kaixian's Operatic Creation

Li Kaixian is a famous dramatist in JiaJing period of Ming Dynasty. He is admired in opera creation in his early years. His opera works which names is " Bao Jian Ji", " Bang Zhuang Tai", " Zeng Dui Shan" and "Wo Bing Jiang Gao" once circulated expanding very much. "Gai Ding Yuan Xian Chuan Qi" is a earlier anthology of Yuan ZaJu by literator' selecting in Ming period. "Ci Xue" is a valuable opera theory book because it have collected the ballads , legends and humorous stories of which Lee was fond and familiar with and it also have included Taoci in writer's zaju and sanqu of which writers are Zhang Xiaoshan , Qiao Mengfu, Ma Zhiyuan and so on. In order to more in-depth study of Lee's opera creation, the paper is divided into three chapters to disuss.The main content of chapter one is the study review of Li Kaixian in the 20^th centery. Attention started to be given to Li Kaixian in the 1970s. In the 1980s and 1990s, the first of Lee's life and works have been fully studied. So far, the study of Li Kaixian has not been in comprehensive summary, the article will make a detailed discuss of the study status in the chapter. So that we can clearly understand the efforts, achievements and blank of Lee's study.The chapter two introduces and discusses Li Kaixian's major operatic works and creation time in detail. It hoped that we can find Lee's operatic t rap through understanding the opera works and creation time. The chapter two is divided in two section. Section one discusses Lee's major operatic works and creation time. And section two discussed "Duan Fa Ji" the specific creative time separately.The third chapter discusses Li Kaixian's operatic creative path. It hopes to understand the impact of the social environment ,Lee's first personal experience and changes in thinking to his operatic creation. This chapter is divided in three sections. The section one discusses the official period in the first stage of Lee's operatic creation. The section two discusses the operatic creation of the first stage in Lee' staying at home. The section three discusses the operatic creation of the middle stage in Lee' staying at home.