Thesis Of New Adaptation Of Kunqu As A Phenomenon

This thesis chooses new adaptation of Kunqu as investigative object in order to seek the reason why it grew so fast and extensive that became a new culture phenomenon from 1949. This thesis researches the difference of narration style and stage show between new adaptation of Kunqu and traditional Kunqu. Thesis tries to find the how the new adaptation of Kunqu inherits and develops the traditional Kunqu. This thesis forms topics from the historical overview, narration style and stage show of new adaptation Kunqu.This thesis includes five parts:introduction, three chapters and conclusion.The part of conclusion teases out the present investigative situation of new adaptation of Kunqu and brings out the questions this thesis will research.The first chapter summarizes the historical overview. It includes three parts:the first part discusses the influence on drama creation brought by culture policy and work system from the founding of New China:the obliged demand of policy and the foundation of 8-hour work system are the most fundamental reasons of the emergence of new adaptation of Kunqu; the second part discusses the influence on new adaptation of Kunqu brought by arts policy in the seventeen years period and shows works list in this period; the third part discusses the influence on new adaptation of Kunqu brought by arts policy in the New Era and shows works list, the thesis of this part also chooses analyses the works in 1980s.The second chapter discusses the features in narration of new adaptation Kunqu. It includes three parts:the first part discusses how new type theater affects the new adaptation of Kunqu; the second part discusses the pursuit of Draw based of new adaptation of Kunqu and how it abandons selectively the traditional performance system, selecting "Legacy of the South Tang Dynasty" written by Guo Qihong as an examle; the third part discusses the reception of tragedy conception of new adaptation of Kunqu:there is no Tragedy instead of suffering story in traditional China, the new adaptation of Kunqun reflects the tragic awareness to a certain extent.The third chapter focuses on discussing the stage show of new adaptation of Kunqu. It includes two parts:the first part mainly discusses the establishing of Director system in the stage of new adaptation of Kunqu; the second part discusses the acceptance of vocabulary of non-traditional stage by the new adaptation of Kunqu from stage technology and actor performance.According to the dissertation of three chapters, there are some conclusions:first, there is limitation on the concept of new adaptation of Kunqu because the breaking in performance system doesn’t belong to traditional Kunqu any more, it just imitate the characterization of traditional Kunqu in the idea; second, the new adaptation of Kunqu should be classified as New drama with other drama types or others:because other new adaptation of X drama has the same character with new adaptation of Kunqu that imitates the characterization of traditional mother and the contemporary connotation of itself; last, the new adaptation of Kunqu should insist on walking by two legs in the rumination of traditional Kunqu.