Research on Curves

Author: Yu Weimin
Publisher:
Publish Date: 2005-06-01
Features: It is reasonable to integrate the studies of drama, film, and television into one series. Since the emergence of film and television, there has been a tendency to separate and oppose these new art forms from theater. Film once declared it wanted to "divorce" theater. Those who clung to the theater were also hostile in their view of these new arts as challengers. In reality, despite the son's different personality and appearance from the mother, he still carries the mother's genes. Whether it is film or television, they cannot be separated from the basic elements of "performance" and "observation." In the end, they are merely new variations of the ancient art of theater under new technological conditions. They cannot completely discard their ancestral bloodline and soul.
What is theater? Definitions have always been diverse, with supporting theories including the "imitation theory," "game theory," "will expression theory," and others. Ultimately, humans invented theater to create a specific, artistic, audible, visible, and perceivable "scene of performance and observation." This serves to intuitively and vividly rerepresent human life forms and survival environments, thereby entertaining, appreciating, understanding, critiquing, and elevating oneself, ultimately optimizing and expanding the space of survival.
Qu is an important musical genre in the history of ancient Chinese literature, with a long history of transmission and a wealth of produced works. It is an essential part of China's national cultural heritage. The study of Qu, or the exploration and research of its vocal elements' structural forms and internal laws, is a key component of ancient Chinese theater theory. The research and discussions of Qu by ancient Chinese Qu theorists on Qu's structure deepened and gradually improved along with the development of the art of Chinese opera. This research aims to build upon the foundations of previous studies and make further advancements. To this end, efforts have been made in the following three aspects:
First, in terms of research perspective, it is not limited to the Qu of literati. Overall, Qu includes two major systems: folk Qu and literati Qu. Qu originated in folk culture, and after literati became involved in its creation, it gradually became standardized and regulated, forming what is known as regulated Qu. Folk Qu did not disappear because of the emergence of regulated Qu; it continued to be passed down in the folk.
Second, striving for depth, the study not only examines the external form of Qu but also explores its internal laws, enhancing theoretical rigor. By analyzing the various constituent factors of Qu, the internal patterns of its melodies, as well as the structure of Qu sets and suites, are sought to be uncovered.
Third, a dynamic perspective is adopted to examine the evolution and transformation of Qu's structure. Through the study of Qu's developmental and transformative process, its underlying patterns are uncovered.