Studies On The Spoken Parts Of Li Yu’s Opera

Li Yu is a representative playwright of Suzhou School in late Ming and early Qing dynasties.His works were not only popular at that time,but are still put on stage after his works have been adapted.The popularity of his works can not be separated from his natural and natural style of spokenparts.This article mainly through the text detailed reading and the comparative analysis method has carried on the systematic research to the spoken parts of Li Yu’s opera.This paper consists of six parts.In the introduction part,the author discusses the research status of Li Yu and his works,understands the achievements of the previous scholars,and finds that the research on the spoken parts of Li Yu’s operas needs to be further studied.Then it clarifies the purpose and significance of the spoken parts of Li Yu’s operas’ research.Finally,the source of relevant concepts used in this paper is explained.The first chapter is divided into three sections.The first section introduces in detail the three main sources of the spoken parts of Li Yu’s operas,that is,refining from the spoken language of life,picking from the saying,adapting from the novel and opera,and also explaining the principle of Li Yu’s adoption and adaptation of these three languages.The second and third sections respectively discuss the collocation principle and effect of spoken parts and sing parts and Ke Jie in Li Yu ’s operas.The second chapter describes the auxiliary function of spoken parts in Li Yu’s artistic character.The first section of this chapter discusses the auxiliary effect of spoken parts on the layout of opera structure mainly in two aspects: the hidden line of long span ambush plot and the detail of small range anaphora.The second section describes the role of Li Yu’s Bin Bai in assisting the expression of the social and cultural connotation of his opera,including the reproduction of large-scale cultural activities and covering two aspects of micro-custom culture.The third section describes the auxiliary function of spoken parts to the shaping of characters,mainlyfrom the use of spoken parts to say self and shape the other two negative arguments.The third chapter is about spoken parts’ auxiliary role in the social function of Li Yu operas.In the first section,we write the auxiliary lyrics ofspoken parts,Keke to create lively scenes and sad and happy staggered scenes to realize the entertainment of opera and the role of teaching in fun.In the second section,it is written that Binbai assists in enhancing the satirical effect of opera,and in the third section,it is written that spoken parts contributes to the promotion and enlightenment of opera.The fourth chapter describes the relative position of spoken parts of Li Yu’s operas in the development of operas’ spoken parts.The first section deals with spoken parts theory of opera artists before Li Yu.The second section describes the situation of spoken parts in the opera works of the legendary writer of Li Yu Tong’s period.The third section describes the trend of Bing Bai in the legend of the middle and late Qing Dynasty after Li Yu.Through the vertical comparison of spoken parts opera in each period,it is concluded that the spoken parts of Li Yu’s operas have inherited and innovated from the former generation spoken part youchang,but the offspring have produced less new from elsewhere.The conclusion part summarizes the gains and losses in the article.