A Study On The Evolution Of Tragic Love And Marriage Drama

Chinese classical tragedy works of love and marriage are an important part of Chinese classical drama As a type of work with distinctive national characteristics,its emergence was closely related to the culture,society,history,tragic psychology and other factors of the nation.However,under the influence of the western tragedy theory,the study of tragic works with Chinese characteristics and theoretical combing is relatively marginalized.Relationship tragedy covers three aspects: writer,text and audience.This paper aims to study the tragedy of love and marriage drama in different periods by means of careful reading of the text,comparative analysis and other research methods,summarizing its developmental rules,and revealing the cultural connotation behind the generation of love and marriage in tragic works.The first chapter elaborates on the tragedy of love and marriage drama in the Song and Yuan Dynasties.Zhang Xie Zhuangyuan is the only extant full-length opera in the Southern Song Dynasty.As an example,this paper analyzes Zhang Xie Zhuangyuan’s social background,tragic language style and psychological experience in the process of audience acceptance,so as to fully grasp the tragic core and extension of this drama.Through a comparative study of the love and marriage dramas Han Gong Qiu and Wu Tong Yu produced in the early Yuan Dynasty,this paper analyzes the tragic differences between Ma Zhiyuan’s and Bai Pu’s works caused by their different life experiences,the tragic differences in language features,and the different national tragedy experienced by the audience in the process of acceptance.By analysis of generational social background,the language of the tragic style and tragic experience in the audience’s psychological view of the tragic drama of Qiu Hu Xi Qi and Xiao Xiang Ye Yu this paper generally presents the tragedy of love and marriage in Song and Yuan drama.The second chapter mainly analyzes the five landmark works in the Ming and Qing Dynasties.According to the time sequence,they are Pi Pa Ji,which is known as the "ancestor of southern opera";Jiao Hong Ji,which is known as the "Yuan Pu";Chang Sheng Dian and Tao Hua Shan,which are written by Hong Sheng and Kong Shangren;and Lei Feng Ta,which reflects the humanity of Qing Dynasties.These five Chinese opera works not only show the different social stratum in the marriage tragedy,but also on the basis of the tragic drama of Yuan Dynasty.The main reason for the change is the essence of social background differences,the difference in the writer’s tragic consciousness,language features and the audience’s different tragic psychological experience in family and country.The third chapter mainly summarizes the representative development trend,new forms of expression and audience acceptance psychology under the contemporary concept of tragic love drama in the fusion of Chinese and western tragedy theories in the new era through case studies of Sichuan opera Yan Yan,Yue opera Movie Hudie Meng and Yue opera Tang wan,Huangmei opera Huizhou Nvren,Peking opera Bai Hua Zeng Jian,and the Henan opera Lei Sa Xiang Si Di.The innovation of the Sichuan opera Yan Yan and the Yue opera Tang Wan on the traditional tragedy of love and marriage can be summed up as Under the new view of the author on the contemporary tragedy of love and marriage of western tragedy theory;The Yue opera Hudie Meng and the Huangmei opera Huizhou Nvren can be summarized as the reconstruction of the contemporary tragedy of love and marriage in the works of The Peking Opera Bai Hua Zeng Jian and the Henan opera Lei Sa Xiang Si Di selected in this paper show no traces of innovation and are the tragedy type of In terms of the setting of dramatic conflicts they are a continuation of the typical traditional tragedy consciousness in our contemporary era.From these three aspects,this paper presents the features of the contemporary neoclassical tragedy of love and marriage and tries to compare and reflect upon the changes in the characteristics of modern tragedy of love and marriage and the new connotation of the new era.The conclusion part of this work summarizes and expounds upon the general rules of the quantitative and qualitative changes of the tragic works of love and marriage drama.People’s views on love and marriage are continuously changing.They are closely related but have significant differences.The tragic evolution of love and marriage drama not only permeates the change of people’s views on love and marriage,but also shows the process of women from passive suffering to self-awakening and to resistance.In the traditional perspective.This prat will also improve the research significance of the love and marriage tragic works from the cultural perspective to philosophical thinking and suggests that China’s love and marriage tragedy is presented in State and laws closely linked with our five thousand passing years of philosophy,values,cultural psychology,the potential consciousness,and many other factors.The works of love and marriage are the research category that can best embody the characteristics of national tragedy.