| As "the richest and most important collection of Ming Legend in existence "（Fu Xihua）,Liushizhongqu has a high research value because of its dual nature as a Antouben and a Wutaiben.Props are an important part of opera creation and opera performance,which is of great significance to opera research.Therefore,it is feasible and valuable to study the combination of Liushizhongqu and props.It can not only add new content to the study of Liushizhongqu,but also closely connect the text study of opera with the stage study,and also help contemporary dramatists learn from the props design of predecessors for opera creation.This paper is entitled " Research on the Props of Liushizhongqu " and is divided into four parts.The first part is intended to explore the origin and interpretation of props,and to give a general overview and discussion of props used in Liushizhongqu.After clarifying the concept of props,masonry and scenery,this paper defines props as a general term for objects of all sizes designed for writing,narrating,and describing scenes in opera plays or stage performances.On this basis,the props are classified from the perspective of text and stage.From the perspective of text,the props are divided into six categories: costumes,utensils,diet,stationery,property,and flora and fauna.From the perspective of stage,the props are categorized as realistic props and freehand props.Then,the diversity,flexibility,portability,symbolism and nomenclature of the props of Liushizhongqu are further analyzed.The second part is to explore the artistic function of props of Liushizhongqu’Antouben.The focus is on the artistic functions of the props of Liushizhongqu from three perspectives: character theory,plot theory,and environment theory,so as to show the textual value of the props.From the perspective of characters,the props of Liushizhongqu have the function of characterization,which identifies characters’ identity,brings out their character and conveys their emotion.From the perspective of plot,the props of Liushizhongqu not only have the function of triggering the plot,laying down the ambiguity,and also the function of linking the plot throughout the play.From the perspective of environment,the props can create the required environment for the opera characters and render the stage atmosphere.The third part is intended to explore the development and evolution of Liushizhongqu’ props in the stage scripts in the Qing Dynasty.By comparing the scripts of Liushizhongqu with the stage scripts of Qing Dynasty’s Zhuibaiqiu and Shenyinjiangulu,the changes of props in text and stage application are analyzed.The number of props and their prompts in Zhuibaiqiu and Shenyinjiangulu are more specific and richer than those in Liushizhongqu,from simple prompts to detailed prompts,from use by one person to use by many,and the frequency of use has also increased.The Zhuibaiqiu and Shenyinjiangulu adhere to the tradition of opera stage performance,increasing and decreasing props according to actual performance needs,so that actors can use props to portray their characters while improving the unreasonable plot of opera works and enhancing the rhythm and watchability of opera.The fourth part is intended to explore the patterning of the props of Liushizhongqu and its influence on later generations.The use of a large number of identical or similar props in Liushizhongqu has led to a pattern of props in Ming dynasty sagas,a phenomenon inextricably linked to the socio-political economy,the group of playwrights and the structure of Ming dynasty sagas.At the same time,this pattern has a dual role of the creation of later operas.In conclusion,a study of the props of Liushizhongqu can provide new perspectives and new methods for the study of Liushizhongqu and the study of props,respectively.The analysis of the props of Liushizhongqu from the perspective of the combination of text and stage can not only promote the study of opera creation,but also promote the study of opera performance.Therefore,the prop research of Liushizhongqu has certain value and significance. |
