A Study Of Playwrights In Jiaxing In The Late Ming And Early Qing Dynasty

The paper chose seven counties of Jiaxing(Jiaxing,XiuShui,JiaShan,ChongDe,TongXiang,PingHu,HaiYan)in the late Ming and early Qing Dynasty(Wanliforty-three years 1615-Kangxi sixty-one years 1722)as the research object,thenmaking a comprehensive investigation of time,geographical and cultural background,friends and acquaintance,drama creation and values and other aspects to show theachievements of Jiaxing dramatists in the late Ming and early Qing Dynasty in thereal.This paper was divided into nine chapters along with introduction andconclusion.The introduction section,first of all,defined the time range and regionalscope of the study,and determined the composition of the members of the Jiaxingarea.Secondly,the paper made reviews about related literature and previous researchof Jiaxing dramatists in the late Ming and early Qing Dynasty,making clear about theresearch status and the possibility of further research.The first chapter discussed the background of drama creation of Jiaxingdramatists in the late Ming and early Qing Dynasty.It started from the current affairsin the late Ming and early Qing Dynasty's like Yi Jiu Mutiny which influenced Jiaxingarea.Besides,The regional culture as well as the folk custom in Jiaxing such as thenatural geographical environment,the family culture environment,the developmentof the poetics and Ci provided a complete political,economic,social,cultural andother regional characteristics for the later opera creation,opera outlook,and the communication of the opera in Jiaxing.The second chapter focused on the composition of Jiaxing dramatists in the lateMing and early Qing Dynasty.Firstly,it was examined that there were a total oftwenty-one dramatists which were active in the Jiaxing drama world in the late Ming and early Qing Dynasties.Secondly,it studied the history of the life and somedramatists which is ignored by the academic community.Again,the characteristics ofthe Jiaxing dramatists were explored that the composition of identity were differentbut all of them have experienced the bumpy life.The versatility and rough lifeexperience contributed to their opera activities.The third chapter examined the acquaintances of the Jiaxing dramatists in the lateMing and early Qing Dynasty.In the late Ming and early Qing Dynasty,there was aclose relationship between all the composers in Jiaxing because of the same familymembers,marriage relationship or the association and advocacy.Jiaxing composersnot only had frequent intercourse with Jiaxing's dramatists,but also discussed withcomposers in Hangzhou,Shaoxing,Nanjing and Suzhou.The frequent exchangesbetween different regional areas provide more possibilities for the development ofJiaxing operas.The fourth chapter studied the combing legend works of Jiaxing dramatists on:recovering and edition.It pointed out that the script of Jiaxing opera had been muchlost than exist which was not only a common phenomenon in the preservation ofChinese classical opera,but also related to the experience of Yi Jiu Mutiny,the localprohibition of opera and the vitality of the script itself.The fifth chapter studied the creation of legends of Jiaxing dramatists in the lateMing and early Qing Dynasty.There were many legendary works in Jiaxing in the lateMing and early Ming Dynasty and the themes were wide.It emphasized the emotionor the traditional moral teaching.In the artistic style,opera language of Wanghongwas elegant and gorgeous,but Bu Shichen and ZhaShenxing focused on the naturalcolour of opera.In the Jiaxing,legend creation not only focus on the script but alsofocusing on the performance scene.There were many legends had showed in operapear.The sixth chapter studied the creation of poetic drama of Jiaxing dramatists inthe late Ming and early Qing Dynasty.the composing of the poetic drama in Jiaxingwas less,but the two drama plays existed showed that Jiaxing dramatists did not fall into the stereotype but advocate "the view of the Yuan Dynasty".The author made acomprehensive consideration of poetic drama to make them both with script andperformance.The seventh chapter is the study of Jiaxing opera performance in the late Mingand early Qing Dynasty.In the late Ming and early Qing Dynasty,Jiaxing's theatricalactivities were frequent.The performance organization was divided into professionalclass and private family class.The performance places were extended to the gardenand the boat,the poetry creation of viewers had a bridge function for operaperformance.The eighth chapter research the theory of Jiaxing drama in late Ming and earlyQing Dynasty.Taking the theoretical works as the research object to find out theirtraditional opera concepts and pointed out that the Jiaxing dramatists adhered to thetraditional opera concepts such as "advocating Yuan Qu","both beauty and law","theoriginal color" and "the opera should be practical".The ninth chapter is the study of external communication and communication inthe late Ming and early Qing Dynasty of Jiaxing.The openness of Jiaxing opera isreflected in its frequent external communication.At that time,Jiaxing playwrightcommunicated with other writers and other groups through dramas and stage topromote the development of local operas.Conclusion part starting from the whole paper,in the longitudinal direction,exploring the contribution of Jiaxing dramatists creation to the drama world of otherarea in late Ming and early Qing Dynasty.In the transverse direction,the paperexplored the contribution of Jiaxing dramatists creation to the Jiaxing drama world inlate Ming and early Qing Dynasty.