How does "Dou'e Grievance" reflect the characteristics of the Yuan dynasty's miscellaneous dramas?

I. The shape of Yuan miscellaneous operas: four folds of a wedge of dramatic organization and singing, bingbai combination of performing arts

"Dou E Grievance" full name "touching heaven and earth Dou E Grievance", *** four folds of a wedge. The text excerpt is the wedge and the first three folds. The wedge is placed at the beginning of the play, through the readings and dialogues of Cai, Dou Tianzhang introduce the plot and explain the origin of the story. In the first section, Dou E's inner monologue explains how she was sent by her father to Cai's family to be a child bride until her husband's death, and how she suffered inwardly. Interspersed with Sai Lu doctor and Cai's wife and Zhang Donkey's father and son's bingbao, explaining Cai's wife's unsuccessful attempts to get the bill framed by the Sai Lu doctor, and saved by Zhang Donkey's father and son and forced to marry by Zhang Donkey's father and son's plot. The second fold is written Zhang donkey forced Dou E not, but the drug death of their own father, but Dou E to the court, the corrupt officials actually reversed black and white, Dou E will be beaten to death, sentenced to death. The third fold writes that Dou E made three vows at the execution ground and was killed. The above three folds are excerpts from the textbook. The fourth fold of the main content is: Dou E ghost to have done the Su Zheng Lian visit to his father Dou Tianzhang dream, grievances, so that its ancient injustice to be cleared.

The four-fold and one-wedge form of the play is the basic form of structural organization of Yuan miscellaneous dramas. In most of the existing Yuan plays, there are four folds and one wedge in this system, narrating a complete story within four folds. Of course, it is not set in stone, and there can be some breakthroughs and development. The so-called fold, "is a unit of musical organization, but also the development of the storyline of the natural passage, it is not subject to the restrictions of time and place, most of each fold includes a greater number of scenes for the activities of the actors to leave a wide world, but also to the audience to provide the imagination of the space". [1] The four-fold form was designed to accommodate the needs of the theater's own development, since any dramatic story generally has four segments: the beginning, the beginning, the development, the climax, and the end. The wedge is an important part of Yuan miscellaneous dramas, similar to the prologue and the scene of a modern drama, which explains the plot and connects the upper and lower scenes. Wedges are generally not long, concise, and can explain the storyline. If there is no wedge, it is just sung one paragraph at a time, and the audience will not be able to make sense of it. Wedge in the script of the location is extremely flexible, although most of the first fold before, but put in the other two folds of the situation also occurs from time to time. Overall, the four-fold wedge is the basic form of Yuan miscellaneous dramas, but according to the development of the drama and the need to express the content, there will be variants of the form.

The Dou'e Grievance also focuses on the performance art of Yuan miscellaneous operas. The performance of Yuan miscellaneous dramas consists of singing, clouds and sections, and "Dou'e Grievance" synthesizes these three forms of performing art. Singing, as the name implies, refers to singing, Yuan miscellaneous operas are more special in that they are generally sung by a protagonist from the beginning to the end, of course, there are also about 1/3 of the play is the role of the same, the lead singer can be changed, which is called the change of disguise or inverted disguise. One person can concentrate on portraying the main characters and make their image distinct. Dou'e Grievance" is by the performance of Dou'e actor singing, therefore, can also be called "Dou'e Grievance" is a Dan actor theater. Cloud that is Binbai, because the Yuan miscellaneous plays to sing the main, then white natural for the guest, so also known as Binbai. The language of Binbai is simple and simple, focusing on the narrative. Section covers a wide range of content, "meet, bowing, into the worship, dance, sitting and kneeling, and so on, the body of the act, are called Section. [2] Simply put, the section refers to the stage movements of the actors, basically through a variety of body movements, virtually reflecting life, but at the same time, with a certain degree of programmatic, although the section of the Yuan miscellaneous operas is not yet perfect, but it laid the foundation for the unique performing arts of Chinese opera.

The Dou'e Grievance is a typical example of the Yuan opera's combination of singing and bingbai performance, where one person sings the main song and the other sings the bingbai. The main singer uses different palatial tones to express different emotional contents. From the point of view of the three-fold script chosen for the textbook, basically it is sung by Dou E. The lyrics are mainly lyrical, with narrative as well. The other characters mainly use bingbai to narrate. The supporting characters in Dou E Grievance make use of bingbai for gags or narratives, such as the opening poem of the characters (especially the antagonist). Dr. Sai Lu's poem, "He practiced medicine with discretion, and gave medicine according to the Materia Medica, but the dead ones were not alive, and the living ones were dead", vividly demonstrates a man who was a doctor. The poem vividly shows the image of a fake doctor who deceives the world and steals the reputation of the world. The poem of the corrupt official Taolu, the governor of Chuzhou, reads: "I'm a better official than others, and I want to sue for gold and silver. If the boss is the brush roll, at home to push the disease does not go out".

Second, the spirit of Yuan miscellaneous dramas: the critical spirit of facing reality, strong lyricism and happy ending

The reason why "Dou'e Grievance" has become a masterpiece of Yuan miscellaneous dramas is not only because of its form, but also because it embodies the essence of the spirit of Yuan miscellaneous dramas.

First of all, Dou'e Grievance embodies the critical spirit of facing the reality. There are a number of Yuan miscellaneous dramas that reflect social reality and social problems, which are also known as social dramas. Most of Guan Hanqing's works are strongly realistic, and Dou'e Grievance is especially outstanding. The play profoundly exposes the darkness of the Yuan Dynasty society, focuses on Dou E's resistance and tragedy, and is a tearful indictment of the dark forces. Among them, the most wonderful climax passage is: "There are the sun and the moon hanging in the morning and the evening, and there are ghosts and gods holding the power of life and death, heaven and earth! We can only distinguish between the clear and the turbid, but how could we have fooled the thieves and the Yan Yuan? Those who do good suffer poverty and live shorter lives, while those who do evil enjoy wealth and longevity. Heaven and earth are the same! You are a man who is afraid of the hard and deceitful, but it turns out that you are also like this, pushing the boat along! What is earth if you do not distinguish between the good and the bad? Heaven, you have wrongly surveyed the wise and the foolish in vain! Aigoo, only two tears are left in my eyes." This classic song points the finger of criticism directly at the highest ruler of the time.

Secondly, the play embodies the distinctive national characteristic of the Chinese people - lyricism. Chinese drama is also known as opera because of its distinctive national characteristics. As Wang Guowei said, "Opera is said to be the acting of stories with songs and dances." [3] Acting out stories with songs and dances is precisely the national characteristic of Chinese drama. This is embodied in the drama, creating the lyricism of Chinese opera this remarkable feature, Yuan miscellaneous operas are particularly distinctive expression of this feature. Yuan literati created miscellaneous plays with strong feelings, rich layers, lyrical character is extremely obvious, some of the large readings or singing words, the creator's inner emotions to the fullest.

The palace of the righteous is good, there is no reason to violate the law of the king, do not watch out for the criminal constitution, screaming Qu Qu move the ground shocked the sky. ......

Rolling the embroidered ball has the sun and moon hanging in the morning and evening, and there are ghosts and gods holding the right of life and death. The world is also! The only thing that can be done is to differentiate between the clear and the foul, but how can you fool the thieves and the metatarsals and the Yan Yuan? The good will be poor and short-lived, and the evil will be rich and long-lived. ......

The end of the brake ...... straight waiting for the snow flying June, drought three years, (singing) that during the time to put you a wronged soul of the death of this sinus show.

From these stirring pathos in the lyrics, we can obviously feel the creator's inner passion.

From this, we can see that even in the strong spirit of realism known as "Dou E Grievance" is still full of poetic lyricism. And the three vows of Dou E at the end give the play its romanticism.

Finally, it embodies the aesthetic ideal of the Chinese nation - the happy ending. The ending is one of the main elements of the plot structure of the drama, the integrity of the drama is here. Yuan miscellaneous dramas, especially the metropolitan miscellaneous dramas to a happy ending. The happy ending of Dou E Grievance embodies the moral principle that good is rewarded for evil, but it is inevitably far-fetched and highly subjective. Dou E Grievance" was hailed by Wang Guowei as a "that is listed in the world's great tragedies, but also no shame" [4] of the great tragedy. Through this play, it is not difficult to see the society at that time: the rogue hobo is rampant, the cases of cheating and robbing are prevalent, and the dim officials are in charge, only recognizing the money and confusing black and white. The play truly reflects the social reality at that time. But at the end, it adds a bright tail - Dou E's ghost sends a dream and complaint to Dou Tianzhang, who has already become an envoy of Suzheng Lianzhang, and is finally vindicated.

The reason why the use of this fantasy nature of the romanticism of the end, nothing more than to pursue the happy ending. This kind of external reunion type of theater structure, implies the traditional cultural concepts of the country - optimistic aesthetic psychology. As Wang Guowei said, "the spirit of our countrymen, the world also, optimistic also, so on behalf of the spirit of the opera novels, always and not with the color of this optimistic, starting from sadness and finally happy, starting from the separation and finally together, starting from the troubled and finally Heng; not and want to get tired of the readers of the heart difficult to carry on!" [5] Typical happy ending, such as: the gold list, return home in fine clothes, talented and beautiful lovers, and family reunion, children and grandchildren, and rich and prosperous, and so on. As long as we pay a little attention to classical opera, it is not difficult to find that happy endings abound in classic opera.

Reunion closure, on the one hand, reflects the national aesthetic ideal, but also reflects the needs of the audience. We know that Yuanzai Opera is stage art, what we see from the textbook is only the script, while Yuanzai Opera is a living performing art. The script is only one aspect of the creation, only with the performance of the actors, a Yuanzai opera is complete. Since it is a stage performance, it is natural to consider the audience's tastes and emotional acceptance, especially at that time the Yuan miscellaneous operas writers and performers still rely on the performance to maintain survival, how to meet the audience's tastes, thereby increasing income, is the Yuan miscellaneous operas creators must first consider the problem. Therefore, no matter how twisted the plot is, the ending should satisfy the audience's psychological expectations. As the saying goes, no good deed goes unpunished, no evil deed goes unpunished, and Dou E's monstrous injustice is finally avenged.