Aesthetic Theory of Chinese Opera

Author: Zhang Geng
Publisher:
Publish Date: 2004-12-21
Features: Chinese opera does not use the stage as a mirror frame to capture real-life scenes. It does not emphasize the reproductive function of acting but rather its expressive function. As Mei Lanfang said in his article "The Performance Art of Chinese Peking Opera," "Chinese audiences go to see the story content of the opera, but they also place great emphasis on the performance. The degree of audience appreciation is often determined by the actor's technique." He believed that as a classical musical drama, Peking opera involves many integrated elements, and these elements are primarily embodied through the actors. "The characteristic of Peking opera stage art, where the actor is at the center, is even more prominent." Cheng Yanqiu also stated, "One of the major differences between our traditional performance art and Western actors is that in the overall stage, we elevate performance to the highest position. Although Western theater also has a performance-centered theory and it is the main school, it cannot, like the Chinese school, view performance as the sole focus. The development pattern of European drama is: the aesthetic views of the era dominate the form of scriptwriting, and the form of scriptwriting primarily dominates the form of performance., however, follows: the aesthetic views of the era dominate the form of performance, and the form of performance primarily dominates the form of scriptwriting." (From "Cheng Yanqiu Collection")
Mr. Zhang Geng approached the study of Chinese opera from the perspective of new literary and art workers, advocating that the study of opera theory must first begin with the study of opera history. Together with Guo Hancheng, he co-edited "A General History of Chinese Opera" (1981), exploring the development patterns of opera by examining its relationship with politics, economy, and culture in different eras. Therefore, his research on opera treats it as a whole of integrated art, tracing its roots and tracing its evolution, giving it a profound "historical" depth. He also scientifically grasped and summarized the laws of opera art through comparisons with various arts from around the world. Especially in terms of opera creation and reform movements in different periods, he targeted issues directly and accurately, making his research on opera aesthetics deeply meaningful in a "theoretical" sense and demonstrating unique expertise.