The Evolution Of The Happy Ending Of Chinese Classical Opera

Reunion is a kind of ending mode in Chinese opera scripts,and it is also a research category that modern researchers attach importance to.Researchers usually study "reunion" as a fixed opera mode,ignoring that the happy ending is different in different eras and different themes.From the perspective of the development of opera,its ending is gradually evolving from non-happy ending to happy ending,and this paper takes the happy ending of opera as the perspective to sort out the evolution mode of the happy ending of opera.This paper is divided into six parts,the introduction part is the research significance and research background of the article,analyzes and sorts out the research content of senior scholars,and analyzes the nouns within the research scope such as "happy end" and "ending" to define the research scope more clearly.The second part mainly discusses the reunion mode of Yuan Dynasty opera,which is more typical of public case dramas,marriage and love dramas,and ethical and moral dramas.The third part summarizes and sorts out the representative reunion methods of the Ming and Qing opera dramas of loyalty and traitor,the awakening reunion of the main body of the marriage and love drama,and the enlightenment reunion of the immortal Taoization drama,the fourth part discusses the reasons for the evolution of the happy ending of the opera from the aspects of the idea of "Shang Yuan" and the aesthetic pursuit of the beauty of neutrality,and the fifth part discusses the gains and losses of the happy ending of the opera from a dialectical perspective.The sixth part summarizes the full text and concludes that the happy ending of opera is a process of continuous development,and the aesthetics of reunion in different periods are influenced by the social trends and cultural psychology of the time.The happy ending of the opera has both rationality and its own limitations.For example,the reunion mode of the Yuan Dynasty public case drama has three kinds of reunion symbolizing vows,wisdom and reunion,and coincidental reunion,each of which has a different focus on the realization of the reunion mode,reflecting the good wish that good will eventually defeat evil.The happy ending of opera in the Ming and Qing dynasties continued to develop,and the reunion ending continued the pattern of talented and beautiful people eventually becoming dependents,good and evil rewarded,and reincarnation of cause and effect,and was a multiple reunion of gold list nominations,emperor rewards,and family members getting together.The happy ending of opera reflects the Chinese people’s pursuit of the beauty of neutrality since ancient times,and is the "Shangyuan" embodiment of the reincarnation of religious cause and effect.The happy ending in the opera script links the character ending with morality,Virtual fulfillment of national aspirations.No matter what kind of tribulations the protagonist has suffered,the ending always gives the audience a sense of security,and the fun of the happy drama lies in watching how the protagonist undergoes one test after another to turn the crisis into safety,which is the best carrier for promoting ethical indoctrination.From a dialectical point of view,the happy ending of Chinese opera promotes the maturity of opera stylization,and also creates the limitation of shortening practical problems.When interpreting various types of happy endings based on dynasties and script themes,the author is more interested in how to present the "fun of reunion".Each reunion model is not produced in isolation,and is inextricably linked to the creator’s thoughts and the background of the times.Chinese opera "love" is more important than "things",so when explaining various kinds of happy endings,the author is more interested in what kind of "reunion fun" is presented in it.Each structure did not arise in isolation,and there were story models for playwrights to refer to,and later developed and evolved in the Ming and Qing dynasty legends.These changes are related to history and culture.Summarize the most basic story mode,and also study the relationship between adaptation.The happy ending of opera is a process of gradual development,and the happy ending of each era of the Yuan,Ming and Qing dynasties is inextricably linked,and the great reunion opera of the Ming and Qing dynasties borrows from the model of the Yuan Dynasty and develops,which is related to cultural trends,rulers’ preferences,and the development laws of the works themselves.The process of the evolution of the happy ending of opera is also the best proof of the canonization of opera in the Yuan Dynasty.The happy ending of opera is a gradual development process,and the great reunion opera of the Ming and Qing dynasties highlights the characteristics of the times and produces new changes in the reunion mode of the Yuan Dynasty,and the reunion mode as an important feature of the inheritance of opera is also an indispensable aesthetic landscape of Chinese opera.