| Summary: | 碩士 === 東吳大學 === 中國文學系 === 101 === Although Suzhou theatrical circles in Late Ming Dynasty are prosperous, there are few studies in this field. Therefore, more studies need to be done. This paper aims to focus on the dramatists’ acquaintanceships and clarify them with collective thinking. Firstly, “Diagram of Suzhou dramatists’ acquaintanceships in Late Ming Dynasty” and “Form of Suzhou dramatists’ acquaintanceships in Late Ming Dynasty” will be made for discoursing the general background of Suzhou theatrical circles in Late Ming Dynasty; later, this study will focus on dramatists’ acquaintanceships in Late Ming Dynasty and explore the influence of important drama troupes and the similarities of dramatists’ drama theories in Late Ming Dynasty for clarifying the collective characteristics of the dramatists of Suzhou theatrical circles in Late Ming Dynasty. This paper is divided into four chapters:
In chapter one, “General Background of Suzhou Theatrical Circles in Late Ming Dynasty”, there are four sections. Firstly, the general background of Suzhou theatrical circles is introduced chronologically. Secondly, fourteen important dramatists’ biographical notes and their family background are discussed and discoursed in this section. Thirdly, the exploration of the entire development of Suzhou theatrical circles is included. Finally, the value and contribution of this chapter is to clarify the importance, the development and the features of both Late Ming Drama and Suzhou Theatrical Circles in Late Ming Dynasty in order to establish the historical position of the Late Ming Dramatists.
In chapter two, “The Commentary of Suzhou Dramatists’ Acquaintanceships in Late Ming Dynasty (included Tang Hsien-Tsu)”, by analyzing Suzhou Dramatists’ Acquaintanceships in Late Ming Dynasty, the develop of drama is historically discoursed. Therefore, according to the analysis of the “Diagram of Suzhou dramatists’ acquaintanceships in Late Ming Dynasty”, the clarification of the key figures and the secondary ones among Late Ming Dramatists is main subject in this chapter for comprehending the influence and the representativeness of these dramatists. Moreover, there are three different types of dramatists’ acquaintanceships: drama acquaintanceships, official acquaintanceships and ordinary acquaintanceships. The categorization provides a complete and clear background of dramatists’ acquaintanceships. The academic contribution of this chapter are to distinguish the three key figures of Suzhou Dramatists and then to analyze the acquaintanceships among them. There are three major findings in this chapter. Firstly, after analyzing the acquaintanceships among Shen Jing, Zheng Feng-yi and Gu Da-dian and their drama theories, it overthrows the long-last history of categorizing Gu Da-dian as Wujiang School. Secondly, Wang Shi-Zhen had great influence on the literary circles at that time because he had many connections following with his great acquaintanceships and therefore, Qu Zhao was greatly promoted too. He then becomes the second important figures among the Suzhou dramatists. Thirdly, there are few studies of Zheng Feng-yi in Chinese literature. However, after analyzing Zheng’s acquaintanceships, Zheng Feng-yi is the leading authority in rhetoric of Suzhou dramatists and he also had influence on Tang Hsien-Tsu’s drama theories on both of the rules and forms and rhetoric. Zheng Feng-yi then has a more important historical position.
In chapter three, “Suzhou Drama Troupes’ Acquaintanceships in Late Ming Dynasty”, the focus is on the acquaintanceships among the Suzhou dramatists’ drama troupes and then discusses their influence on Suzhou Kunqu. Among all the dramatists in Late Ming, the researcher thinks Zheng Feng-yi, Gu Da-dian, Shen Jing, Wang Heng, and Xu Zi-chang’s drama troupes are representative; they are the five key figures in the banquet acquaintanceships. In 1573-1620, Pan Zhi-heng is the one of the most representative among the Suzhou drama troupes. He had unique theory on performing because he observed and analyzed thousands of drama performing. In both of his works, Luanxiaoxiaopin and Genshi included the performing theory after watching and observing many dramas; therefore, it is discussed in the paper. Drama troupes are popular in Late Ming Dynasty. It causes the wide spread of the scripts. Owing to the scripts are continuously performed on the stage by the drama troupes, the scripts become well-known and popular in the world. Besides, the performing of the drama troupes also causes the prosperity of the short dramas. The academic contributions of this chapter are the analysis of Suzhou Kunqu and the discovery of the five key figures of the Suzhou dramatists’ drama troupes. There are three major findings in the chapter. Firstly, in the past, researchers do not put much attention on Zheng Feng-yi’s drama troupe; it is disregarded most of the time. However, after analyzing many documents, the research finds out that Zheng’s drama troupe is quite famous in Wuzhong at that time. This finding can make up the insufficient part of the drama’s history and academic field. Secondly, after observing and studying the documents, I find that the dramatists are usually the owner of the drama troupes. They often teach their troupes how to perform. Therefore, the dramatists’ preferences of beauty on drama performing are often seen on the stages. Finally, Suzhou drama troupes influence the drama circle in four ways: the promotion of the diversity of stage performing, the increasing learning opportunities of the drama performing among different troupes, the promotion of the circulation of the scripts and the prosperity of the short drama.
In chapter four, “The Similarities of Dramatists’ Drama Theories in Late Ming Dynasty”, drama theory is prosperously developed in Late Ming Dynasty because of the acquaintanceships among the dramatists and therefore promotes the establishment of the drama theory. All in all, there are three major similar subjects of Suzhou dramatists and their theories: Ben Se and Ci Cai, Tang-Shen debate and the differences and similarities of Suzhou dramatists’ Tonal Patterns Theory. The academic contribution of this chapter is to analyze the drama theory subject that came out due to the acquaintanceships. There are three major findings in this chapter. Firstly, it clarifies how and why the acquaintanceships between Wang Shi-zhen and He Liang-jun would lead to the evaluation of these three drama: Pi Pa, Bai Yue and Xi Xiang, form the interpretation of Ben Se and Ci Cai. Secondly, after analyzing the acquaintanceships of Suzhou dramatists, I find that there is no actual relationship between Tang and Shen. Tang-Shen debate results in the acquaintanceships they have. If Tang-Shen debate is defined by literary thinking and the comparison of Tonal Patterns Theory, the major influence of it is to promote the establishment of Wujiang School, Lichuan School and Dual Beauty Theory’s concepts. Thirdly, owing to the prosperous acquaintanceships among the dramatists, it promotes the discussion of Tonal Patterns Theory in Suzhou in Late Ming Dynasty. After the discussion of the differences and similarities of Suzhou dramatists’ Tonal Patterns Theory, I find Suzhou dramatists do not fully understand the pattern of Nanqu and they even causally develop the pattern into Jiu Gong Shi San Tiao. As for the rhyme, the dramatists only follow Zhongyuan Yinyun and dialect rhymes. As for the words and tones, Shen Jing’s ping tone yin-yan is too simple. His acquaintances, Lu Tian-cheng and Sun Kuang’s interpretation of tone and pattern are more advanced.
|
|---|
