The Research Of The Chinese Classical Tragedies’ Beauty Appreciation Characteristics And The Development Nowadays

We could pursue the float of Chinese classical tragedies as old as some sad songs in The Book of Odes and The Odes of Chu. Those tragic songs about the hardness of the life or aspirations of career are never inferior to any tragic works. With such a long history, the tremendous numbers of works all shine brightly like rubes in the sky of history. In the long run of development, the Chinese classical tragedies developed its unique characteristics of beauty appreciation, which are totally different from those of western tragedies. It’s the significant tastes of beauty appreciation and value that make Chinese classical tragedies having its own saying in the world tragedy stage. Whereas, nowadays, these features of beauty have been grilled and tested inevitably as every classics, so what can be done to preserve and develop those remarkable earmarks has been more worth caring issue.The essay below has three major parts. It analyses the beauty appreciation characteristics and the reasons of the Chinese classical tragedies, and tries to find a proper way for preservation and development. The first part is an introduction of Chinese classical tragedies’beauty appreciation characteristics. By choosing ten famous Chinese classical tragedies as examples, the unique characteristics of Chinese classical tragedies are analyzed closely in this part which is written from three dimensions----the choosing of character and subject, the structure and the ending, the contradictory and the conflict. The unique characteristics of Chinese classical tragedies, including lowing profile to common people, the plot developing in a crossing of happiness and sadness, the happy ending and the passive confliction are all showed in this part, which are totally different from the western tragedies. The cultural background of such beauty appreciation characteristics will be showed in the second part, which is written from three aspects----national cultural psychology implanted by the traditional sprit of Confucianism, Buddhism and Taoism, the writers’and spectators’ psychology, plus the influence of history background and form of performance. The Chinese philosophy is the mix Confucianism, Buddhism and Taoism, so the Chinese national cultural psychology includes different ideology. Both the writers and the spectators were influenced by the philosophy, so that the Chinese classical tragedies assume unique beauty characteristics. Of course, other factors such as historical background and the distinctive opera form influence, too. This part tries to prove as well that there are certain reasons leading to those aesthetic characteristics that we cannot deny even today. In the third part, how to succeed the traditional Chinese classical tragedies in the new environment today is thought about, including the theory perplex, thinking of how to fit in the contemporary world, and how to toss up or succeed in the new media environment and the new creative way to preserve classics. The difficulties of developing the traditional Chinese classical tragedies are analyzed, and the famous Chinese classical tragedies, The Orphan of Zhao, and the newly coming homonymous movie of the same name are put together to see the similarities and differences between them. It can be easily found from the comparison that in the basis of carrying forward the good factors of the Chinese classical tragedies, the movie also draw in the mass culture and do more in digging in the characters’inner mind, so that they are more plentiful and can be accepted by nowadays’spectators more easily. It is surely a successful try, which finds a new way for the preservation and development of the Chinese classical tragedies.In order to find a proper way for the development of the Chinese classical tragedies nowadays, this essay focuses on the Chinese classical tragedies’beauty appreciation characteristics and the causes, and introspects the course of the research on them as well. This essay believes that rearranging on the premise of not dispelling the spirit is a valuable trial. The good characters should be kept, and at the same time, the factor of spectators in the times of mass culture should also be thought about. Meanwhile, pour more humanistic spirit into the Chinese classical tragedies when rearranging them.