A Study On The Characteristics Of Poetic Language In

Originally,Puxian Opera was called Xinghua Opera, which was popular in Putian and Xianyou, as well as in the places where the dialect Xinghua was spoken. After the new China was founded, it was renamed. According to research, Puxian Opera originated from the acrobatics in the Tang Dynasty, formed in the Song Dynasty, thrived in the Ming and Qing Dynasties. Although it was once fallow due to contemporary revolutionary movement, it further prospered after the reform and opening-up. It’s known as the “living fossil of the southern drama in the Song and Yuan period”in that it preserves many traditional plays and artistic elements of the ancient drama. The dance and action language of female roles is a representative part of Puxian Opera’s art language and performance system. No matter compared with other Chinese opera or Chinese classical dance in contemporary, the movements of the female roles in Puxian Opera show the distinctive features. And it shows ancient and traditional artistic value and cultural value based on the features. This paper analyses the features of form, aesthetics, culture of the female roles’ action language in Puxian Opera through using the methods of the dance body linguistics,choreoecology and the opera dance morphology, aiming at providing worthwhile reference of reusing the Puxian Opera’s traditional cultural resource of good quality in contemporary.This paper is divided into four chapters: the first chapter is about the form feature of action language of the female role in the Puxian Opera; the second chapter is about the aesthetics feature of action language of the female role in the Puxian Opera; the third chapter is about the culture feature of the female role in the Puxian Opera; and the surplus discussion is about the recognition of the value of action language of the female role in the Puxian Opera.In this paper, the innovation points are: selectingthe Puxian Opera which has longhistorical culture and profound artistic accumulation from vast kinds of opera, treating the action language of the female role as the specific research object; through the study of the regularity of its linguistic features, revealing it’s unique movement form, aesthetic ideal and cultural value, offering new possibilities for expanding the mode and elements of movementwhich reconstructed by the contemporary Chinese classical dance and providing valuable theoretical reference to increase the richness and nationality of Chinese classical dance’s body language system.