Yang Drama Situation And Development

Yang Drama is important part of Nuo culture. It is the full-name of WuyangShenxi and briefly called Yang Drama. It was holding several theatrical performancesin the ceremony. When had been holding activities of Yang Drama God worship, Itgenerally was bowing and making a wish, so called Return yang drama,or called HaiYuan. It is the intermediate level of the Nuo and drama in the development stage.Fuquan Yang Drama is the first batch of intangible cultural heritage in Guizhouprovince,and is the typical one of Yang Drama in China,which studied have importantsignificance. This paper uses the method of ethnology field-work to investigate thehistory, current situation, performances, drama, inheritance and development ofhuangtushao Yang drama in Fuanquan city which as an case investigation. The authorexplain Yang Drama concept based on the predecessors of studies, which refer to godsof Yang Drama, the content of drama, the scale of the activity and the purpose of therites and so on. The author believe that Yang Drama has generalization sense annarrow sense. The generalization sense of Yang Drama is that taking three gods ofChuan Zhu, Tu Zhu and Yao Wang as main God carry out activities of rites.It containHai Taiping drama,Hai yang drama and Ping ji. The narrow sense Yang Drama refersto HaiYang drama. Generally speaking, Yang Drama is worship of Chuan Zhu, TuZhu and Yao Wang as main God, and through ritual and singing drama to make thegods happy,and done God ’s promise, which got good fortune from God. Yang Dramahas two major contents: rites and singing drama, which is happening in an stage.Nowadays, Yang drama activities gradually transfer amusing gods from amusingpeople. In essence, it is a belief culture, which rooted in the folk-culture, and itdevelops relatively slowly to retain a large number of Witchcraft culture. So theauthor discusses the development of yang drama isn’t the brief culture development,but is the development of Yang Drama’s classical or essential parts, such as based onthe original repertoire to design the best one and make it meet people’s aestheticvalues, and developing it becoming a cultural industry, as a result promote income inthe local. In the sense, this thesis has certain research value. This article includes introduction, the first chapter, second chapter, third chapter, fourth chapter，conclusionof six parts, more than60000words.The introduction part, at first introduced the selected topic reason, and review theNuo and Yang Drama ’s studies, and analysis of the innovation of this thesis, andaccount for author studies methods and flied work place etc.The first chapter,it is HuangtushaoYang Drama status in Fuquan city. This chaptermainly discusses the basic concept of Yang Drama, and discusses its types anddistribution, describ the current situation of Huangtushao Yang Drama in inheritance,performance activities, development of historical and value.The second chapter is Huangtushao Yang Drama ’s performances. This chapterfocuses on singing Yang Drama have an elaboration, involving performers, role,division of labor, mask, drama and performance program.The third chapter is HuangtushaoYang Drama ’s rites and symbols. This chapteruse Ethnology of rites and symbol theory analysis Yang Drama. At first showing theritual and symbol in the definition and classification. And discussed Yang Drama ritesprocess. Finally the use of ritual and symbolic theory analysis Yang drama.The fourth chapter is Yang Drama’s inheritance and development. This chapterdiscussed Yang Drama’s inheritance way, compose, dilemma, and in the context ofintangible cultural heritage protection discussed breakthrough problem of inheritancedilemma. Finally analyzed Yang Drama’s internal and external problems and proposethe rational countermeasures and suggestions.The conclusion part,it is a summary of the full text, it points out the basic featuresof Yang Drama, as well as make out The Southwest China Yang Drama protectionarea and the development way of culture industry.