Study On "Jingjiao (Painted Face)" And "Choujiao (Clown)" Of "the Peach Blossom Fan"

The role system,as the structural system of Chinese classical opera,is one of the effective ways to explore and appreciate the artistic achievements of opera,determining the performance standard and scene arrangement of opera."The Peach Blossom Fan",as a magnum opus in Chinese opera,has always been a hot topic in the field of opera studies.Based on the role system,this paper attempts to focus on the role-playing of "Jingjiao(painted face)" and "Choujiao(clown)" of "The Peach Blossom Fan".The main body is divided into four chapters.The first chapter mainly investigates and sorts out the origin and development history of "Jingjiao" and "Choujiao".From the perspective of the development of opera,it is revealed that the functions of "Jingjiao" and "Choujiao" have been greatly improved in "The Peach Blossom Fan".The second chapter,on the strength of the classification of "Peach Blossom Fan Program",expounds the "Jingjiao" and "Choujiao" in the Left and Right two parts.The author first by exploring Liu Jingting in history and opera texts of multiple images,found the painted face image and gag comedy feature are the inheritance of the traditional "Choujiao" patterns,while the behavior style that "own a chivalrous demeanor and an elegant atmosphere at the same time" is an innovation of classic model.Secondly,this paper deduces that Kong Shangren once fell into a creative dilemma in the arrangement of the "Choujiao" through Zheng Tuoniang’s divergence from the historical image in his opera texts.Finally,the discussion of the Choujiao"image of Cai Yisuo," a combination of literati identity and merchant identity",embodies Kong Shangren’s concern about the downward trend of culture.Ding Jizhi and Zhang Yanzhu’s "Choujiao" image contains Kong Shangren’s judgment of their differences in identity.The third chapter mainly discusses "Jingjiao" and "Choujiao" in the Odd and Even two parts.First of all,the difference of the image-shaping of Ma Shiying in historical writing and literary writing demonstrates that Kong Shang Ren has degraded Ma Shiying to a certain extent in his opera texts.Investigating the history of the early Qing Dynasty,Kong Shangren’s approach hints the protectionism of the emperors of the Ming Dynasty,and Ma Shiying is indeed the scapegoat for Emperor Hongguang.Secondly,the author found that Ruan Dacheng’s "Fujing" image suggests the development of the narrative dimension of the Jingjiao.In the history of performance of Jingjiao,Ruan Dacheng is the first "Fujing" image as a gifted scholar in poetry and prose.And Ruan Dacheng’s feature varied from the traditional model,from being good to evil,also reflects the deconstruction of the fixed form of Jingjiao.The fourth chapter mainly concerns the combination types of "Jingjiao" and "Choujiao" and their roles in the text.The author first interprets the "four colors"(“color”:sentiment of the meeting and parting)and "four gasses(“gas”: feeling of the rise and fall)" in the "Peach Blossom Fan Program" and sorts out the four-character combinations between "Jingjiao" and "Choujiao" carefully arranged by Kong Shangren.By further studying of the opera texts,the author examines the combinations present multi-dimensionality and fluidity,which not only sometimes reflect the performing of the text but also contribute to the adjustment of sorrow and joy.