A Research Of Li Yu's Aesthetic Thoughts Of Drama From The Perspective Of Three Dimensional Drama Creation

Li Yu,as the master of traditional Chinese opera theory during the late-Ming and early-Qing Dynasties,under the concept and experience of predecessors' opera compositions,creates an unique ideological system of opera aesthetics which cater to the aesthetic taste of the public back in that time,and also combine his thinking and the performance practice from his Chinese opera troupe.In his later years,Li Yu concentrates his thoughts and practical experience in the book Xian Qing Ou Ji,which was embodied in the three parts: Ci Qu Bu,Yan Xi Bu and Sheng Rong Bu,and he creates the script set Li Weng Shi Zhong Qu(Lian Xiang Ban,Feng Zheng Wu,Shen Zhong Lou,Yi Zhong Yuan,Feng Qiu Huang,Nai He Tian,Bi Mu Yu,Yu Sao Tou,Qiao Tuan Yuan,Shen Luan Jiao)to highlight his concept of life,personal mentality and aesthetic temperament,which has a profound impact on the development of later dramas.At present,plenty of studies on Li Yu's aesthetics of drama are issued,but there are still many problems that need to be further explored and discussed.The following article intends to analyze the opera with Third-time Creation within the research threshold,based on Xian Qing Ou Ji,grasp the essence of the book,and combine with the creation of Li Weng Shi Zhong Qu to explore experience and deficiencies.The article is divided into five chapters:The first chapter will explain the basic concept of Third-time Creation,which is also the research foundation and method of the whole paper.The first section mainly clarifies the origin of the concept of Third-time Creation and defines the specific concept;the second section mainly describes the specific content of Third-time Creation and analyzes the rationality and scientific meaning;The third section will emphasizes the relationship of the content and analysis of Third-time Creation,which clarifies the value and significance of Third-time Creation.From the chapter two to the chapter four,the article will analyze Li Yu's script creation theory,stage presentation theory and audience appreciation theory based on the research analysis of Third-time Creation and Li Yu's book Xian Qing Ou Ji and the play collection Li Weng Shi Zhong Qu.While in the chapter two,we mainly comprehensively discuss Li Yu's ideological and proposition on drama script creation based on four aspects: Script structure,language expression,musical composition,and story structure.In the chapter three,the article will analyze Li Yu's specific requirements for the stage of the opera mainly from the three aspects of drama direction,drama performance and drama dance beauty.Based on the previous two chapters,Chapter four will focus on the audience's aesthetic needs,acceptance methods,and post-view feedback and then conclude that the "audience-oriented" concept in Li Yu's aesthetics of the opera.Chapter five mainly expounds the unique value and practical significance of Li Yu's drama aesthetics.In the article,the first section focuses on the analysis of Li Yu's inheritance and development of the aesthetic ideology of the Ming Dynasty;the second section mainly discusses the limitations of Li Yu's aesthetic ideology in drama from the three aspects of drama structure,tone and audience with examples;the third section focuses on the influence and enlightenment of Li Yu's opera aesthetics on the development of later operas affirm their academic value and practical significance in the history of opera development.All in all,this article intends to discuss Li Yu's theoretical views on the Third-time Creation on drama scripts,drama stage presentation,and audience appreciation,and analyze the specific works with examples to combine theory and practice to sort out and summarize its theoretical viewpoints with the contributing to the creation of current operas.