Study On Peng Jiannan And His Opera

Examining the "Genealogy of the Peng C lan of the South Gate of Liyang" and the Peng Jungu Examination Zhu Paper,it can be seen that Pe ng Jiannan(1790-1828)courtesy name is Xiaolu,number Meicha,also called himself Zhiguan Shan people and Zhiguan Taoists.His wife "Yu Shi" and his brother’s wife "Shi Shi" were Chen Wenshu’s female disciples Yu Yueqing and Shi Jing.He is the author of "Meiyuan Poems Anthology",the C i collection "Q i Xiangge Ci",and the Opera "Yingmei’an","Xiangwanlou" and "Bicheng Xian Meng"(unfinished manuscript),all except "Yingmeian" and "Xiangwanlou",they have all been lost.Peng Jiannan’s existing Xiqu "Yingmei’an" and "Xiangwanlou" respectively tell the love stories of talented and beautiful people between Mao Xiang and Dong Xiaowan,C hen Peizhi and Wang Zilan,and at the same time describe the social,cultural and political environment of a specific era,thus showing Peng Jiannan’s views of women,life and death,history and Opera.First of all,Peng Jiannan shows his affirmation of women’s "Q ing","Cai" and "De" by writing about women’s lives.Secondly,Peng Jiannan used the tragic fate of women to express the impermanence of life,and advocated Confucianism and Buddha Lao Thought to face death and dispel the fear of death.Third,Peng Jiannan’s writing about Zhang Xianzhong’s uprising reflects his attitude of supporting the Ming dynasty against the peasant rebel army,and at the same time reflects his historical concept of denying the Southern Ming dynasty and affirming the Q ing dynasty.Finally,Peng Jiannan explained his concept of Opera of "taking Opera as a Poetry " and "taking Opera as a History " through the Opera prelude and Opera content,which conformed to the development trend of literati Opera in the Qing Dynasty.Peng Jiannan’s Opera presents distinctive characteristics in art.First,the "Q ulǜ" is freedom.Peng Jiannan emphasizes "Q uyi" and light "Q ulǜ",he does not "An Pu Tian C i",but according to his own expression needs,he looks for a "Q ulǜ" that conforms to the "Q ulǜ" in the classic Opera,and does not restrict the "Gongdiao" in the final set.Second,the "Jiaose" is unbalanced.Peng Jiannan no longer conforms to the old system of Opera.He increased the number of female "Jiaose",which was unbalanced in the "Jiaose" setting.He arranges two "Jiaose" to play one role,and there is an imbalance in the distribution of "Jiaose".In certain chapters,the second "Jiaose" lead singer,which is unbalanced in the "Jiaose" singing.Third,the "K ejie" is vivid.Peng Jiannan "feedback" the texts with vivid "Kejie",and he uses "Kejie" to turn fiction into reality,setting up realistic stage sets to enhance the dramatic expression of Opera texts.He uses "K ejie" to unify viewing and performance,giving readers an vivid experience.It also uses the construction of "narration" by "Kejie" to compensate for the lack of narrative in the Opera of the text.