The development background and history of China's traditional operas.

Third, the historical stages of China's classical opera theory.

China's classical opera theory has gone through a long historical period from germination to formation, development and end.

Throughout the development history of China's classical opera theory, it can be roughly divided into eight periods:

Germination period-from pre-Qin to Tang Dynasty

Germination period-song and Jin dynasties

Maturity-Yuan Dynasty to Early Ming Dynasty

Development period-Ming Jialong years

Prosperity-Wanli Period of Ming Dynasty

Integration period-early Qing dynasty

Turning Point-Mid-Qing Dynasty

Late-modern

Germination-The development of drama theory from pre-Qin to Tang Dynasty accords with the development process of drama art itself, and the pre-Qin to Tang Dynasty is the germination period of ancient drama.

During this period, various artistic factors that make up traditional Chinese opera developed independently, but at the same time they merged with each other and gradually developed into a comprehensive traditional Chinese opera art.

Similarly, the records and comments of art critics on various artistic factors of China's traditional operas in this period were the seeds of China's classical opera theory, which had a certain influence on the formation of China's opera theory.

The embryonic stage-Song Jin Song Jin period, through the development and integration of various performing arts, formed the embryonic form of China ancient opera, namely Song Zaju and Jin Benyuan.

With the emergence of zaju and primitive, a new art form, art critics have also discussed and discussed their origins, formal reasons, artistic characteristics and development, which constitute the embryonic form of classical theory.

Maturity-Yuan Dynasty to early Ming Dynasty is the first golden period after the formal formation of ancient Chinese opera. A large number of outstanding opera writers and works have emerged in both southern and northern operas.

At the same time, among the people, opera performances are very active.

The formal formation and prosperity of China opera also promoted the establishment of China's theory of opera.

Development period-After the silence in the early Ming Dynasty in the Jialong period of the Ming Dynasty, the ancient operas revived in the Jiajing and Qin Long periods of the Ming Dynasty, which led to the new development of the mature opera theory in the Yuan Dynasty, not only the number of opera works increased, but also the theoretical components were greatly enhanced.

The prosperous period-Wanli period of Ming Dynasty is another golden period in the history of China ancient opera after the prosperity of Yuan Zaju.

The prosperity of opera creation and performance also promotes the development and prosperity of opera theory.

During this period, a large number of opera works appeared, and music theorists were active. Some problems in opera creation were discussed.

At the same time, the research scope of Qu theorists has been greatly expanded compared with the predecessors.

During this period, the first monograph in the history of China's traditional opera theory, Qulv, appeared.

Integration period-The classical opera theory in the early Qing Dynasty has accumulated rich theories and materials through the stages of maturity, development, prosperity and in-depth development.

At the beginning of the Qing Dynasty, the theoretical circle made a comprehensive summary and improvement of the previous theories. For example, the comments on Li Yu's Suiyuan and Jin Shengtan's The West Chamber produced in this period are systematic and profound.

In the turning period-the middle of Qing Dynasty, with the two changes of the whole music scene, that is, from script creation to stage performance, from elegant part to flower part, the theory of traditional Chinese opera also showed a major turning point.

First of all, the problem of stage performance became the focus of the research of drama theorists in this period, and a large number of works on drama performance appeared.

Second, there are many works about flowers.

The late period-modern times is an era in which old and new cultures alternate. Similarly, this feature is also reflected in the drama theory of this period. On the one hand, it is a summary of traditional drama theory, on the other hand, it is to create and establish new drama theory and research methods.