The Court Performance of Yiyang Opera The Lute:Kao Ming's Pí-pá chi
Past researches on the traditional court dramas in Qing Dynasty have noticed the coexistence of Kun Opera and Yiyang Opera in consecutive plays and seasonal plays,but has paid less attention to the performances of Yiyang Opera in southern operas or legendary works influenced by folk transmission.Through the sorting of the performance records of Yiyang Opera The Lute:Kao Ming's Pí-pá chi,it is found that there are significant differences between its early and late performances in Qing Dynasty,which are directly related to the changing preferences of the emperors and empresses and the influence of folk performance trends.The court performance of Yiyang Opera also shows a trend from its prosperity to decline.At the same time,from the existing court scripts of The Lute:Kao Ming's Pí-pá chi,it is observed that there are not only a single act,but also the corresponding acts in a complete play that are basically consistent,indicating a process of adaptation from a complete play to splitting into separate acts for perform-ance.The rediscovered complete play of The Lute:Kao Ming's Pí-pá chi is a combination of the prevailing editions,selections,and popular acts of Yiyang Opera in the Ming Dynasty,performed with alternating singing styles of Kun Opera and Yiyang Opera,allo-wing researchers to glimpse the basic methods of court adaptations of southern operas or legendary works in the early Qing Dynasty.
万方数据
