| People, lived in the same place, will often share some opinions on thestandard and judgement of beauty with the characteristic of local aesthetic. Althoughdeprived from Kunqu Opera directly, clown play of Kunqu Opera in Sichuan Opera,still hold the aesthetic characteristics of Sichuan Opera itself which represent the spiritand aesthetic culture of Sichuan people, and root in this natural and culturalcircumstances in Bashu Area.This thesis has three chapters. In order to combine the analysis of literature andhistory, and the phenomena and essence of this special type of play in the followingparts, there are five parts in all to present the development of this performance in thefirst chapter. That is, the aesthetic taste of Kunqu Opera and cultural identity, the meansof Kunqu opera transmitting in Sichuan, localization of Kunqu Opera in Sichuan,Kunqu Opera’s forms of existence in Sichuan Opera, and the clown and Kunqu Opera inSichuan Opera.Then the second part starts with the introduce of overall style and performance ofthe clown play in Kunqu Opera of Sichuan Opera, so five aesthetics features can beeasily found, namely humor, perfect harmony of refined and vulgar, full of rough andrustic interest, valuing skills, and respecting nature.In the last chapter, this paper begins with carrying on the retrospect of thedefinitions of local aesthetics. A conculsion will be drawn in this part, too. That is theaesthetics features of Kunqu Opera in Sichuan Opera are developed from the mutualinfluence of Bashu’s natural and cultural environment. To be specific, humor in this typeof play is a true portrayal of the people in Bashu area who are alert and resourceful andpraise highly of the culture; perfect harmony of refined and vulgar is the aestheticcharacterization of immigrant culture of Bashu area that means it will embraceeverything valuable and useful; because of bold and innovation of Bashu people, thisspecial performance is full of rough and rustic interest, valuing skills, and respectingnature. |
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