A Study On Tiedan In Chinese Classical Opera

Tie Dan,is the role line in traditional Chinese opera,the second role of Dan hang,mainly plays the secondary female role outside of Zhengdan,meaning "Tie Dan once outside of Dan",hence the name "Tie Dan",sometimes also known as "Tie Dan".Referred to as "sticker".The purpose of this paper is to make a comprehensive analysis and research on the characteristics and development and evolution of the role of Tie Dan in Chinese classical opera works based on the existing opera texts.The role of Tie Dan has a long history.With the development of opera in different dynasties,in the Southern Opera of the Song and Yuan Dynasties,Tie Dan has only a few words to describe,and does not show obvious personality characteristics,even without a name,only with stickers.Dan is commensurate with each other;in Yuan Zaju,Tie Dan began to play a role in the development of the plot,and showed clear character characteristics;then to the legend of the Ming Dynasty,Tie Dan and Xiaodan appeared together as the second role of Dan,which not only played a unique role in the plot development of opera works.It even has a separate story line to reflect the growth and changes of the characters;in the plays of the Suzhou school,the image of Tie Dan shines brightly,with distinct character characteristics,and plays a unique role in the narrative rhythm of opera works,shining with the brilliance of humanity.With the development of excerpts,Tie Dan has a home for performances in many plays,and reflects the unique charm of this role in singing,reading,and playing.These Tiedan images are sometimes even better than Zhengdan’s,which can reflect the conflict between the fate and reality of the characters,and the conflict between the psychology and social status of the people at the bottom,which makes people’s spirit of resistance to fate more and more valuable.Spirit is also an inspiration and inspiration for the viewer.