Influence Of Traditional Drama On Characterization In Model Opera

This dissertation mainly interprets the effects of traditional opera culture on characterization in model opera. It is believed that it has the current affairs of life as its source and it also reflects the current life, moreover, it carries forward the spirit of the epoch. The model opera outwardly seems to be the subversion to the traditional opera, but in fact it inwardly is the succession of traditional cultural spirit. This dissertation explores this academic field based upon the combination of concrete historical materials, texts and stage practices. With the domination of a qualitative research paradigm which integrates Interpretatism and Criticism, this dissertation also employs sociological and psychological research methodologies in order to analyze the specific research questions.The first chapter "the general characteristics and causes of dramatis personae in model opera" is divided into three sections. The first section discusses the symbolism which intensely embodied in personae of model opera, and how the model opera spiritualizes its personae symbolically to magnify their typical characteristics which is a technique inherited from the traditional systems of dramatic performance, and it can be accomplished in the stage by means of sketching facial makeup and designing costumes. The second section expatiates the influences of drama conflicts on shaping characters, and it discloses that the set up of drama conflicts is capable of definituding the personae's symbolic attributes and distinguishing their typical characters much more. In the meantime the model opera emphasize the positive functions of drama conflicts; therefore it signifies the internal aggregative force in a group as well as it evokes emotional and spiritual responses from audience. From the perspective of cultural ideology, the third section analyzes the relation between Chinese traditional cultural & artistic values and the shaping of drama characters. The underlying cause of the success of model opera and the acceptation from audience is also investigated in this section. The second chapter focuses on the heroic characters and their desexualization in model opera. This chapter discovers that the desexualization of heroes in model opera has a historical origin-relationship with the traditional art likewise because this practice was also common in the ancient literary works. Since the desexualized dramatis personae in model opera are usually explained as the outcomes of political discourse, this chapter brings out a discussion on the compatibility of politics and literature & art.The third chapter tries to research on the characteristics of "mother image" in model opera and the traditional origins of forming these characteristics. The "maternal care" in this study especially refers to the maternal care harboring the nationalism and national interests but not the one which only covers the parental care for children. The mother image in model opera has two layers of influences on shaping dramatis personae, which are the influence on shaping the granny's image and the influence on portraying middle-aged woman's personality in model opera. The fourth chapter focuses on orphan image in model operas, pointing that the plot design related to orphans existed in ancient times, which came from the literary and artistic creation and historical records. In addition, the shows of Orphans do not highlight their bitter life, but the sublimity of the person who bring up the orphans. In shows of Orphans, the educational practice of the people who support the orphans has been inherited by model operas. The audiences are usually educated while the orphan in the play is educating.