A Study Of Linchuan Four Dreams From The Perspective Of Folk Custom

Known as the "Oriental Shakespeare",Tang Xianzu, a great dramatist of MingDynasty，left great literary and art treasure for later generation.His most famouswork Linchuan Four Dreams (Purple Hairpin,The Peony Pavilion,HandanDream,Nanke Dream) represents the most valuable achievement in Chinese dramacreation.Tang Xianzu is not only a great opera writer, but also a drama theorist. Heattached great importance to the interaction between the opera and the audience andadapted the folk legendary stories of Ungrateful Champion,Revival,Dream into kindof performing art,which are loved by large people.He made Li Yi, Huo Xiaoyu, DuLiniang, Liu Meng-mei,Chunyu Fen, Lu Sheng and those who were only exist intext be alive, and conveys the purports of those folk stories to the audience in athree-dimensional way and enriches the forms of Chinese folk art.While observedfrom microscopic view,the minor details of Four Deams are also filled with theChinese folk flavor.Tang Xianzu take the common seasonal folk culture into opera.With the help of festival culture,Tang Xianzu’s Linchuan Four Dreams advance theentire plot development and character shape.Tang takes fully into account the needsof the audience.In Linchuan Four Dreams,he built a magic art world where humanbeings, ghosts, gods and ants can communicate with each other easily, this kind ofwork style meets the aesthetic needs of normal audience greatly.Tang Xianzuincorporated the most ordinary and most common folk season culture into thecomposition of tradition opera, to advance the plotline and the creation of characterswith the help of the connotation of folk season culture.The substantial connotation of folk custom in Linchuan Four Dreams functions asthe approach and means to advance the story plot, so that the audience can get theiremotional resonance easily during the play-watching,which has made the legend thatLinchuan Four Dreams has been passed on for4hundred years.