Modern drama mainly refers to drama, opera, ballet, etc. Since the 20th century, drama has been introduced from the west, while foreign drama generally refers to drama.
China opera has a long history, which originated from songs and dances imitating labor.
(A) Pre-Qin-the embryonic stage of China traditional opera. The "Ode" in The Book of Songs and the "Nine Songs" in The Songs of Chu are the lyrics of singing and dancing when offering sacrifices to the gods. From the Spring and Autumn Period and the Warring States Period to the Han Dynasty, recreational songs and dances gradually evolved. From the Han and Wei Dynasties to the mid-Tang Dynasty, there appeared "Jiao Di" (that is, a hundred plays), in which "joining the army" performed in a question-and-answer way and "dancers" performing short stories of life were all budding plays.
(2) The Tang Dynasty (middle and late period)-the formation period of traditional Chinese opera. After the mid-Tang Dynasty, China's drama advanced by leaps and bounds, and the art of drama gradually took shape.
(3) Song and Jin Dynasties-the development period of China traditional opera. "Zaju" in Song Dynasty, "Courtyard Style" in Jin Dynasty and "Zhu Gong Tune" in rap form all laid the foundation of Zaju in Yuan Dynasty in music, structure and content.
(D) Yuan Dynasty-the mature period of China traditional opera. In the Yuan Dynasty, "Zaju" developed greatly on the original basis and became a new kind of drama. It has the basic characteristics of drama, which indicates that China's drama has entered a mature stage.
Yuan Zaju is a comprehensive stage art that inherits and develops the literary achievements of the previous generation on the fertile soil of folk operas, and is improved and created through the joint efforts of teaching workshops, theaters, actors, musicians and "book clubs". Metaphysically, Yuan Zaju uses four sets of northern songs to arrange stories, and the disjointed parts are combined with wedges to form the usual format of four folds and one wedge (Wang Shifu's The West Chamber is a unique novel in Yuan Zaju, * * * wrote five 2/kloc-0 folds), and each fold is composed of several tunes of the same palace tune, and a "wedge" is added when necessary. At the end, two, four and eight lines are used to summarize the content of the whole play, which is called "getting to the point". Each fold includes three parts: Qu Ci, Bai Hua () and (). The lyrics are written according to the music cards that the tutor needs, also called Wen Qu, lyrics or lyric poems. Its function is to tell stories and portray characters. All the lyrics rhyme. Vernacular writing is an artistic means to express the plot or explain the relationship between characters in the form of words, which can be divided into dialogue (dialogue between characters), monologue (words that characters express their personal feelings and wishes alone), narration (words that characters recite to the audience from other players on the stage) and vernacular writing (words inserted in lyrics). The subject is action, expression, etc. A play is usually sung by one person to the end or the end, and the other feet are all white. The lead singer at the end of the program is called "Final Book", and the lead singer at the end of the program is called "Final Book".
Foot color:
Ending: male role. The hero is the hero in Yuan Zaju.
Dan: Play a female role. Zheng Dan (the heroine in the play), Xiao Dan and Cha Dan.
Jing: Commonly known as "painted face" and "painted face", most of them play male roles with special characters or appearances. For example, Yuan, a civil servant (government official), falls into this category.
Ugliness: Also known as "Three Faces" or "Small Faces", it plays humorous roles, including Wen Chou and Wu Ugly.
Foreign: There are three kinds of zaju in the Yuan Dynasty, namely, the end of foreign drama, foreign drama and foreign classics. , which are the secondary roles at the end, Dan and Jing. Inside job-the end of the outside.
Miscellaneous: Also known as "miscellaneous". Play the role name of the old woman. Such as: Cai.
In just a few decades, Yuan Zaju writers have created at least 500 or 600 plays, and more than 150 plays are still preserved today. These works comprehensively and profoundly reflect the social life of the Yuan Dynasty, and many of them have become valuable cultural heritage of our country. For example, Guan Hanqing's "Dou Eyuan" describes the tragic experience of the kind and naive child bride Dou E, reflects the cruel exploitation of usurers, extortion by local ruffians and the perverting of the law by corrupt officials, profoundly exposes the dark reality of the Yuan Dynasty society, and praises the strong will and indomitable resistance spirit of the oppressed. With the help of historical themes, Ma Zhiyuan's Autumn in the Palace of Han Dynasty describes Wang Zhaojun's loyalty to the country, Mao Yanshou's betrayal of the country and the corruption and incompetence of his officials, mercilessly exposes the national oppression of the Yuan Dynasty and satirizes the rulers at that time. Wang Shifu's The West Chamber describes the story of young men and women fighting for the autonomy of marriage in feudal society. From stunning, couplets to refusing to get married, Cui Yingying's desire for love has been fully demonstrated. However, she was born in a famous family and was influenced and bound by feudal ethics. As a result, she had twists and turns such as "making trouble with Jane" and "relying on Jane". She finally embarked on the road of rebellion in such scenes as Listening to Qin Qu, The Book of Rites and The Pavilion, which added a strong comic color to her works. The main line of the whole drama is the contradiction between fighting for the autonomy of marriage and obeying the "parents' orders", and the misunderstanding and conflict between Cui Yingying, Zhang Xun and the matchmaker is the secondary line, which is interwoven rhythmically, with moderate relaxation, dynamic and static combination, mixed happiness and sorrow, and mixed gathering and dispersion. His theme of "May all beings in the world become well-being" and vivid artistic image have strong artistic charm, which can give people a strong infection and is deeply loved by the masses.
○ Four masters of Yuan Qu: Guan Hanqing-Dou Eyuan; Zheng Guangzu-Ghost Story; Bai Pu-Wu Tongyu; Ma Zhiyuan-"Autumn in Han Palace";
(5) Ming and Qing Dynasties-the prosperous period of China traditional opera. In the Ming Dynasty, legends developed. The legend of the Ming Dynasty was formerly the Southern Opera in the Song and Yuan Dynasties (Southern Opera is the abbreviation of Southern Opera, which is a new form of drama developed on the basis of the Zaju in the Song Dynasty combined with the tunes of the southern region). Wenzhou is its birthplace. South Opera is different from North Zaju in system: it is not limited by 60% discount or one person singing to the end. It has an opening story, mostly a happy ending, and its style is mostly sentimental. Unlike the northern zaju, it is more free in form and more convenient to express life. Unfortunately, the books of the early Southern Opera are rarely preserved. It was not until the end of Yuan Dynasty and the beginning of Ming Dynasty that Southern Opera began to flourish. After the processing and improvement of the literati, this short play which is not rigorous enough has finally become a quite complete long play. For example, "Pipa Story" is a transition from southern opera to legend. The theme of this work comes from folklore, which shows a story completely and has certain drama. It was once known as "the ancestor of reviving southern opera". In the middle of Ming Dynasty, a large number of legendary writers and scripts emerged, among which Tang Xianzu was the most successful. He wrote many legendary plays in his life, and Peony Pavilion is his masterpiece. Through the story of Du Liniang and Liu Mengmei's life and death parting, the work praises the rebellious spirit of opposing feudal ethics, pursuing happy love and demanding individual liberation. The author endowed love with the power to bring it back to life, overcame the shackles of feudal ethics and won the final victory. This had far-reaching social significance in the society firmly ruled by feudal ethics at that time. This play has been loved by readers and audiences for 300 years. To this day, the boudoir, The Scared Dream and other fragments are still active on the stage of traditional Chinese opera performance, radiating its artistic brilliance.