Studies On "Zuju (Plays Set)" In Qing Dynasty

The synthesizer drama that was contrary to the Qing Dynasty was a one-episode style of opera,and it was an important part of the history of the development of Chinese opera.Scholars called this type of work "Zuju","Huju","Taoju","short drama collection".The diversification of appellation shows that the definition of this particular style of opera needs further study.In addition,scholars’ research on this type of work mostly stops at several specific works.On the works,there is a lack of necessary systematic research.This article takes this special opera style in the Qing Dynasty as the research object,discusses its definition,analyzes its characteristics,and explains the significance of this special creative style in the history of opera development.The introduction explains the origin of the topic selection of this article,combs the existing research results,and shows that there are still many problems in the study of Qing Dynasty dramas,such as the definition of drama dramas,the reasons for the changes in the Qing Dynasty drama system,and the tendency to simulate scripts in creation,etc..The first chapter mainly discusses the definition of Qing Dynasty group drama.First of all,by analyzing the creative characteristics of the opera style with a collective drama as one episode and a general name,it is determined that its title is "group drama",and the definition of group drama is divided into narrow and broad sense.Secondly,combined with the Qing dynasty group drama works to distinguish between opera collections,court-accepted dramas and group dramas,to illustrate the experimental characteristics of the group drama creation.Finally,combined with the further demonstration of the non-group play works,42 types of group play were screened out according to the judging criteria of the group play proposed in this article.The second chapter mainly discusses the combination rules of the Qing Dynasty drama group.Combining the works of the Qing dynasty group dramas,it is concluded that "the single plays of the Qing dynasty group dramas use the same creative purpose,similar themes and the same protagonist as the way of association".The third chapter mainly discusses the system characteristics of the Qing Dynasty drama group.First,comb the development and changes of the "combination" style in the history of literature,and compare the origins of the Qing Dynasty drama and "combination" creation.Secondly,it analyzes the drama system in Qing Dynasty and points out that it has the characteristics of "north and south,old and new".Finally,by analyzing the evolution of the Qing Dynasty drama system,it is found that there are obvious differences between the early Qing Dynasty and the middle and late Qing Dynasty script systems,and the reasons for the formation of this difference are discussed.The fourth chapter discusses the creative characteristics of the Qing Dynasty group drama from art to literature.Through the analysis of the performance of Qing Dynasty dramas and the tendency of pseudo-dramaization in the creative process,it is explained that the literati writers,especially their persistence in their identity consciousness,played a role in the transition from art to literature in Qing Dynasty dramas.The driving role of the.The concluding part believes that the writing of drama with a desk-based tendency has not been affirmed by dramatists for a long time,but dramatists have persevered in creating such works.This bizarre deviation between writers and dramatists has its own deep meaning behind it..If you put aside the shackles of his performing arts and care for this kind of creative phenomenon purely from a literary point of view,there must be something else to gain.Appendix 1 at the end of the article is to sort out the general titles,subtitles,number of folds,use of music,version,creation time and main content of the 42 selected Qing Dynasty dramas.Appendix 2 is the summary statistics of the Ming and Qing operas,Appendix 3 is the statistics of Qing Dynasty group playwrights,Appendix 4 is the statistics of Qing Dynasty group dramas,and Appendix 5 is the statistics of Qing Dynasty group drama performances.After the text is attached,it is convenient for readers to refer to the relevant repertoire literature mentioned in this paper.