The research into this school can further crystallize the history of drama theory history of both Qing and Ming Dynasty and promote people's understanding and discovery of this school.
The section summarizes and demonstrates the major points of the drama theory of Yuezhong school from the angle of development and association and researches into the relationship between the dispute in the drama theory circle of Ming Dynasty, the social thinking trends and drama writing.
the other is of the "aesthetic state (Jingjie or Yijing)". This paper gives an overall analysis of the features and relations of "Wei (taste)" and "Qu (interesting)" theory in Chinese traditional opera criticism, explains the continuous development, and illustrates main concept of Chinese traditional opera aesthetics.
the far-reaching effect of this great literature achievement on the development of Chinese traditional opera and especially the theory of Ming Dynasty Chinese Opera is discussed in the third part.
Drama theory differs from game theory in that it does not regard actors' preferences and perceived opportunities as fixed, but as capable of being changed by the actors themselves under the pressure of pre-play negotiations.
Drama theory recognises that the paradoxes of rationality might be the key to understanding certain sorts of conditions and preference changes.
Drama theory does not solve problems through conflict but seeks to resolve while recognising but seeking to avoid conflict.
In drama theory the player's objectives may adapt as the scenario unfolds as will their choices and opportunities for creating and influencing change.
Manifesto for a theory of drama and irrational choice
This paper outlines the analytical theory of drama which has been developed and shows how it can be applied to practical situations.
This paper sums up the pioneering contribution of The Opera History of Song and Yuan Dynasties written by Wang Guowei both to the Construction of the theoretical system of modern opera and to the foundation of the theory of modern opera history in 4 aspects . In doing so , it gives us a valuable reference to the research of the theory of opera and its theory in the new century.
In ancient Chinese opera theories, the concept of “harmonious beauty”featured by harmony and unity, balance and stability was developed to its highest attainment on the condition of following the general law of operatic art. In the theories, the aesthetic proposition of “combing their inner world with the outside”, which attaches importance to integrating performers′self-cultivation and outside performing skills, has given impetus to the development of this concept.
It is one important characteristic of Chinese ancient literature and art criticism that critics expressed their aesthetic feeling in terms of taste (Wei or Quwei). Up to now, The study of "Wei(taste)" and "interest(Qu)" in Chinese ancient poetic criticism caused more attention than that in Chinese traditional opera criticism. "Wei(taste)" and "Qu(interesting)" has two meanings in opera criticism. One is the meaning of popular sense and vulgar interesting; the other is of the "aesthetic state (Jingjie or Yijing)"....
It is one important characteristic of Chinese ancient literature and art criticism that critics expressed their aesthetic feeling in terms of taste (Wei or Quwei). Up to now, The study of "Wei(taste)" and "interest(Qu)" in Chinese ancient poetic criticism caused more attention than that in Chinese traditional opera criticism. "Wei(taste)" and "Qu(interesting)" has two meanings in opera criticism. One is the meaning of popular sense and vulgar interesting; the other is of the "aesthetic state (Jingjie or Yijing)". This paper gives an overall analysis of the features and relations of "Wei (taste)" and "Qu (interesting)" theory in Chinese traditional opera criticism, explains the continuous development, and illustrates main concept of Chinese traditional opera aesthetics.
戏曲理论
drama theory
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