1、李渔闲情偶记分析（The analysis of Li Yu leisure I）“Xianqingouji“ Chinese drama theory monographs, is Chinas first system of opera works. Qing Dynasty, Li Yu, essays. Kangxi ten years (1671) after the complete publication, “Weng an income statement“. “Xianqingouji“ includes lyrics, exercises, sound room, bedr
2、oom, playing, food and drink, planting and maintenance etc. 8, content is more complex, drama theory, landscape architecture in the view, a way of keeping good health. Refers to the opera theory “,“ only “music“, “exercises“ sound volume, so people dont cut the article, “Li Liweng quhua“ series.Li Y
3、u learned from predecessors such as Wang Jide “Melody“ in theory, practice related to the opera creation, and combined with his own creative experience, the establishment of a complete set of opera theory, its depth and breadth to Chinese classical opera theory peak, set a milepost for drama critici
4、sm Chinese history and the history of literary criticism. Li Yus opera theory is based on stage practice, and thus can reveal the general rules of opera creation. He said, “the lyrics, for the debut, criticized Jin Shengtan on“ the West Chamber “is the literati at the desk play of the“ West “, is no
5、t the actor playing the“ West “. Li Yu put forward the “structure first“ proposition, with life meaning, conception and layout, the structure in the first place, followed by the “second words“, “rhythm of third“, “fourth sets“, “Kehun fifth“, “sixth pattern“, comprehensive discusses many problems in
6、 the creation of the opera. The discussion of the structure, language and theme is very incisive. Li Yu put forward the principle of “structure first“. At the same time, he put forward a set of theories, such as “setting up the mind“, “reducing the clue“ and “sewing the dense thread“, etc., which we
7、re directed against the ills of the stage of the opera at that time. Li Yu advocated the knit structure and plot, organized a seamless heavenly robe not only has high theoretical value, which at the time, and still has the artistic practice significance. He thought about language features to give it
8、 the stage art, is for the audience rather than to see the desk work, under this principle, he put forward the song should be your significant shallow, dull and heavy machine that avoid packing ring, should be like spoken language, one person said Shaw dont make the same; the expensive, clean, sound
9、 sonorous service and a series of unique insight. When it comes to the theme, Li Yu thought lies in innovation, to escape the pattern for the first mission, since the script called legend, because of its peculiar thing, without people see and transfer, must be followed, dongshixiaopin. As for the di
10、rector and the performance, Li Yu also made a lot of pertinent remarks. In a word, Li Yu is a synthesizer of opera theory since Yuan and Ming Dynasties, and has made great contributions to the development of Chinese opera theory and criticism.A geek 2 Li Yu appeared as the second half of the sevente
11、enth Century Chinese literary world, whether in poetry, fiction, drama, or in the history, garden, food and clothes and health and other aspects has made outstanding achievements. His work is very abundant, and can be divided into various categories, drama, novels, poems and essays in three categori
12、es. However, Li Yus novels, the opera was regarded as feudal orthodox scholars on the insignificant skill was in good taste. Coupled with his family troupe, so although he has been in the comedians in the literary world a remarkable achievement, but not by orthodox literati attention. In recent year
13、s, with the deepening of theoretical research, more and more people begin to pay attention to Li Yus many creations and his theory of opera and novel. Li Yus drama theory mainly concentrated in the “I“ of the “leisure“ and “Ci“ in these exercises, the theory is a comprehensive summary of the ancient
14、 drama theory provides a wealth of information and reference, the prosperity and development of the early Qing Dynasty opera after Yuan Ming two generation, finally becoming more mature and perfect.Different from the previous opera theorists, Li Yu has made a major breakthrough in the discussion of
15、the structure of opera. He has a unique understanding of the particularity of opera structure in opera creation. Giorgi once said: “the Yuan Dynasty Yuefu also said, crested, pork stomach and leopard tail word is also six.“1 but this explanation only refers to Quwen structure opera or Sanqu, overall
16、 structure and no drama, and pointed out the structural characteristics of different parts of the song structure, but the theory is very simple. After the middle of Ming Dynasty, although the importance of the structure of the opera opera theorist in opera in the creation of a new understanding of t
17、he structure of drama discourse is more specific, but their understanding of the opera has not completely get rid of the influence of traditional poetry aesthetic temperament, that is the key word and Chinese Opera creation. Li Yu explicitly put forward the proposition that “structure is the first“,
18、 and regarded the structure problem as the most important problem in the drama creation. He believes that the rhythm spectrum to follow, “like the plain gourd, powder, and the structure of the book can be found, no laws to abide by. So he said, “people first lyrics temperament, and to the first stru
19、cture“. If only good words and melody without good structure, “and is bound to change, not to destroy, and the Zhushedaobang, and the number of house carpenter capital, a hall for lack of use“ 2.In addition, Li Yu not only knows more about the structure of the opera than his predecessors, but also t
20、ranscends his predecessors in the scope of his knowledge. Predecessors lack the overall understanding of opera structure, or just pay attention to the composition of the play, or only pay attention to some parts of the plot. Such as Wang Jides “song“, then in the drama, the first step of its own “3“
21、, just for the drama of the “song“ structure. If one plays only consider the structure of a part, and not pay attention to the overall structure of the play, it is bound to affect the structural integrity and unity. Li Yu is a grasp on the structure of the opera problem as a whole, and puts forward
22、some concrete methods and skills related to the structure of drama, and a series of basic principles and requirements, the structure of drama theory has become a complete theoretical system.A drama, on the structure of the core of “setting up the“Li Yu will “Mastermind“ as the core content of the op
23、era structure theory. “Mastermind“ refers to the structure of the soul, establishes it established the basic structure of the. What does the structure center of the opera contain? Li Yu said: “the ancient writing, there is a leader, he is the mastermind of non intention, Liyan also. Legend is also t
24、rue. There are countless names in a drama, it is with its original object, the beginning of the heart, check and set as a person; this is one person, from first to last, and with infinite “, without the guanmu, what is the original redundancy, the beginning of the heart, and only for one thing. This
25、 one thing, namely the legendary mastermind also.“ 4 shows that the structure of center should include two aspects: one is to play the theme and the authors creation intention, two is the mastermind of the “one thing“.(1) the theme of the play and the authors creative intention;In fact, as far back
26、as Li Yu, Wang Jide put forward the theme of the play and the authors creative intention as the structural center of the play. He believes that the playwright must first establish the theme before he writes, and then complete the script. Li Yu in the “I“ in the development of leisure and deepen this
27、 view: “no proposition is poor, but can appear the brocade Heart, Yang is also embroidered mouth. Try to read fashion by, but not to be well intentioned, keep going by painstaking effort, orchestra, pay you Meng, non Music Association trial law is difficult, but also not good scale structure.“ 5 vis
28、ible theme and creation intention of the establishment is directly related to the overall structure of the quality of the plot plays a dominant role and commander. This can be shown in two aspects: on the one hand, the play structure is formed in the drama theme and the authors intention under the g
29、uidance; on the other hand, both the overall structure of the play or the specific structure, such as the arrangement of plots, characters, with conflict setting must be governed by the theme, for the performance of the theme and the authors intention of service. Because the theme and creative inten
30、tion of the play plays a decisive role in the structure of the play, it is only when the two are established that it is possible to produce a complete and unified drama structure,Otherwise, in the concrete creation, will change the original idea and the clue without purpose.(two) one person matters“
31、For the “one thing“, “one person“ refers to the central character of the dramas, such as “Pipa“ in Bojie Cai, “the West Chamber“ in Zhang Junrui. This “one person“ is the main embodiment of the theme, while other characters are foil, around personal relations, conflict. But only one person can not e
32、stablish the structural center of the play, there must be “one thing“. Because in real life, there must be many things about “one person“, and many of these things are not unified with the theme of the play and the creative intention of the writer. Li Yu for those who only “one person“ and “one thin
33、g“ s Criticism: “future generations as the legend, but as a person, I do not know a thing for the people, as far as what has been done by section, elaborate, as scattered gold Suiyu. For zero can be called for; all of this, broken pearl, beam house, the author clueless about the viewer still, no won
34、der the general hope but also go pear.“ 6He refers to the “one thing“, is that the plot will combine the “one thing“, namely the key events. This critical event is not necessarily a central event in the play, but it plays a pivotal role in the conflict and becomes one of the center of the structure.
35、 For example, “the West Chamber“ in the “white horse rescue“ of the incident, although a transitional plot is described in the first second fold wedge, but as a result of this incident caused many behind the plot, directly to the conflict, so although not itself plays a central event center is one o
36、f the structure “on the west“. In addition, as the center of the structure of “one thing“ can also refer to a certain props, such as the “Peach Blossom Fan“ the peach blossom fan, both Hou Fangyu and Li Xiangjun Dingqingzhiwu, and rise and Nanming Dynasty linked 7. The important scenes such as fan,
37、splash fan, title fan, fan, fan and so on are also related to the peach blossom fan. For example, Li Yu himself as “the kite“ in error but also in a kite as a prop to “.Li Yu not only put forward the “Mastermind“ said, and some specific methods are also presented, such as “clues“ and “dense needlewo
38、rk“ method.(1) “reducing the mind“Idea“, which is in accordance with the “one thing“ throughout the structure principle, and cut out the “one thing“ there is no relation between the characters and events, so as to highlight the main line. Since the later legendary writer for scholars, they mostly co
39、mpiled script and stage regardless of pomp and performance, but the pursuit of elegant language and plot rich. In view of this phenomenon, Li Yu pointed out that “the legend of the illness is complex and“ 8, “and told the writers idea if can avoid traditional“ four words always concern, the idea is
40、not divided, the word is also meets the specific, such as Gutong, fresh bamboo, straight no branches, although there is no guarantee that it will pass. Although there is “Jing“, “Liu“, “worship“, “kill“ the potential to be 9.(two) dense sewing“Close sewing“ means keeping the front and back of the pl
41、ot and plot, the field and the field, so as to make the head and tail consistent. Li Yu pays attention to the intrinsic link between the playwright plot and plot in the arrangement of the plot, he put the playwright plots process to sew clothes: “play like sewing, the early to completely cut, then c
42、ut to make them. Its easier to cut and break, but to scrape together. A section of sparse, the whole of the flaw out.“ In order to reflect the theme of the play and the creative intention of the writer, the author chooses and extracts the extracts from the real life according to the requirements of
43、the center of structure. Then, “cut the broken bits together“, that is, these selected plots to form a whole of art.There are two ways to sew a needle: to lie in and to take care of it. The ambush is foreshadowed in front of the plot, which later appeared on the plot not abrupt, as “a series of fine
44、 bamboo V in them, see later known as the lotus magic, to cut the,The first long dark wire for wire on the network after, just know the essence of cocoon “10. Reference refers to the circumstances behind and in front of the plot to coordinate, make the development of the plot of a link and one. Thro
45、ugh these two methods can guarantee the integrity of the theme and “one person, one thing,“ the main line of coherence.Two, about the pattern of operaThe pattern of this drama, but also an important content of “leisure“ in the structure of the opera I. The so-called pattern, that is, different stage
46、s of the development of the plot. The determination of opera pattern is mainly determined by the conflict of Chinese opera. Chinas ancient drama theory although there is no clear development, put forward the beginning, climax and ending terms, but the music theorist has been noticed and put forward
47、the pattern of the plot, such as the above mentioned Giorgis “crested leopard tail, pork stomach,“ said. Li Yu in the “leisure“ take “pattern“ in this chapter, points out the door, rushed out a small field, the character, the evil spirit, the exorcism of five parts, of which the former three are abo
48、ut drama beginning part, small evil spirit is discussed about the climax of the drama, the exorcism is the outcome of the discussion about drama. Since the beginning, small or exorcism, the evil spirit in different positions in the plot development, each stage of the plot arrangement has its particu
49、larity, so Li Yu in this chapter is mainly based on the different characteristics of these three parts to discuss every movie plot.(a) beginningAs the saying goes, “everything is difficult at the beginning.“ the beginning of a play has always been considered a difficult part. At the beginning of the Opera plays an important role in the whole opera structure, Li Yu has realized: “although the word cloud is not much, but no structure has been finished, confident, do not. Even if the scale has been set, and do consider in the meantime, have the potentia
