Why is it said that Li Yu should be the one with the highest theoretical achievements in Chinese ope

Li Yu's deeper rational understanding of the aesthetic characteristics of dramatic art has made outstanding contributions to the history of Chinese dramatic aesthetics.

He is a great opera artist, the first and most systematic work in China, the first relatively complete and systematic work on opera in the history of ancient Chinese opera, and the master of ancient Chinese drama aesthetics, and so on.

Li Yu truly studied and comprehensively expounded the essence and main characteristics of dramatic art, and he advocated that opera should reflect the truth and persuade the good to punish the evil.

He is a great opera artist, the first and most systematic and complete work on drama theory in China, and a summary of his aesthetic ideas and life experience.

That's because Li Yu has the highest cultural achievements in Chinese opera.

Because the advent of Li Yu's "Idle Love and Occasional Mail" marks that the theory of ancient Chinese opera has reached a new height.

Li Yu was a first-class family and dramatist in the late Ming and early Qing dynasties, with rich creative and stage experience.

Li Yu is the founder of ancient Chinese dramatic aesthetics.

Because Li Yu has rich stage experience, he has a deep understanding of the joys and hardships of opera as an operatist.

Li Yu's theories of drama mainly include the following main views:

1. "Structure first"The principle emphasizes the tight structure, compact plot, and the front and back corresponding, so that the whole play is integrated.

2. "Stand your mind"The idea is to highlight the main characters and the central event, reflecting the author's original intention.

3. "Cut the head"The theory emphasizes the deletion of the side and side feelings, so that the main line in the play is clearly understood.

4. "Dense needle thread"The argument emphasizes the tightness of the plot structure, and the before and after correspondence make it seamless.

5.In terms of language, Li Yu believes that opera is written for the audience to listen to, rather than a desk work for people to see, so it is necessary to give it the characteristics of stage art. He proposed that the song should be noble and shallow, chaotic, witty, not superficial, and avoid stuffing; Bin Bai should say that one person is like one person, and do not be the same; A series of unique insights of the Yuan family, such as noble and clean, sonorous voice.

These theories not only had high theoretical value at that time, but also still have strong artistic practice significance.

Li Yu has a unique perspective on drama theory. He emphasized starting from the audience, paying attention to the mass nature of the drama and the effect of the stage performance. In terms of the structure of drama, he has developed several important principles, including "establishing the main brain", "disarming the ground", "dense needle" and "reducing the clue".

In terms of theatrical language, he opposed the use of written hail to measure the standard of literature, and emphasized that it should be considered from the perspective of being suitable for stage performance, and that playwrights should "not only speak for the good, but also listen to the ears", so that the drama can be smooth and beautiful. He emphasized the importance of structure, believing that structure should be put first in the theory of opera, and at the same time, when dealing with daily materials, the structure of opera should be close and avoid complicated problems.

A brief description of Li Yu's main views on drama theory is as follows:

Li Yu put forward the principle of structure first, and at the same time put forward a whole set of theories such as "establishing the mind", "reducing the clues" and "dense needlework", all of which were formed in response to the shortcomings of the opera stage at that time. Li Yu's assertion that the structure should be rigorous, the plot should be compact, and the organization must be seamless, not only had high theoretical value at the time, but also still has strong artistic practice significance today.

In terms of language, he believes that opera is written for the audience rather than a desk work for people to see, so it is necessary to give it the characteristics of stage art. Under this principle, he proposed that the music should be expensive and shallow, heavy on wit, avoid superficiality, and avoid stuffing; Bin Bai should say that one person is like one person, and do not be the same; A series of unique insights such as noble and clean, sonorous voice, etc.

When it comes to the subject matter, Li Yu believes that innovation is important, and the first priority is to get rid of whiteness. Since the script is called legendary, it is because of its peculiarity that it has not been seen and passed on, and it must not follow suit. Regarding the director and performance, Li Yu also made a lot of pertinent remarks.

The main content of Li Yu's theory of the structure of opera.

1) Li Yu broke through the proposition of heavy word picking and rhythm in the previous generation of music theory, emphasized the importance of structure, and believed that word picking serves structure.

2) In the history of classical Chinese drama theory, Li Yu was the first to put forward the idea that "the structure is the first and the first is blind", pointing out that in the process of conceiving a work, the playwright should first carefully design the structure of the work.

3) Li Yu systematically explained the specific principles to be followed in the structure of opera works, and put forward a complete set of propositions such as "establishing the main brain", "reducing the clue", and "dense needle and thread".

4) "Mastermind" has two closely related meanings: one is the central idea or creative motivation of the state that is roughly quite sharp today; Second, it is necessary to closely focus on the central idea and select a central person and central event as the backbone of the structure, so as to express the central idea in a more concentrated way.

5) Li Yu's theoretical view of "the original meaning of words" as the central issue of the creation of opera is in line with the law of opera creation.

Briefly explain the four specific propositions of Li Yu's drama and game structure. First, "establish the main brain" Second, "reduce the clue" Third, "dislodge" Fourth, "dense needle and thread".

In terms of drama construction, the important principles put forward by Li Yu are:

"Establish the main brain", that is, highlight the main characters and central events, and reflect "the original intention of the author's words";

out-of-the-box", that is, the subject matter should get rid of clichés, pursue novelty, and attach importance to creativity;

"Dense needle and thread", that is, a tight plot structure, Kipi allows the front and back to take care of it, making the whole play a seamless whole;

reduce the clue", that is, delete "see the side out of the filial piety", so that the main line in the play is clearly understood.

The first theoretical work on opera in China is the Qing Dynasty opera writer Li Yu's "Idle Love".

Li Yu drew on the theoretical achievements of his predecessors, linked the practice of opera creation at that time in "Idle Love and Occasional Mail", and combined with his own creative experience, he established a complete theoretical system of opera, the depth and breadth of which have reached the peak of classical Chinese opera theory, and have become the history of opera theory criticism and even Chinese literature.

The history of criticism has set a milestone.

The theory of opera in Li Yu's Idle Love and Occasional Mail is based on the practice of stage performance, and thus can reveal the general laws of opera creation. He believes that "the design of filling in the words is specially designed for debut", and criticized Jin Sheng's comment on "The Legend of the West Chamber".

It's just "The West Chamber" played by the literati on the desk, not the "West Chamber" played by Youling.

Li Yu put forward the proposition of "structure first" in "Idle Love and Occasional Mail", which contains fate, conception and layout, and puts structure in the first place, which is "second in word collection", "third in rhythm", "fourth in binbai", "fifth in science", and "sixth in pattern", which comprehensively and extensively discusses many problems in the creation of opera, among which the structure, language, and subject matter are particularly incisive.

While Li Yu put forward the first principle of structure, he also put forward a whole set of theories such as "establishing the mind", "reducing the clue", and "dense needle and thread", all of which were developed in response to the shortcomings of the opera stage at that time. Li Yu's assertion of a rigorous structure, a tight plot, and a seamless organization not only had high theoretical value at the time, but also still has artistic practical significance. With regard to language, he believed that it should be given the characteristics of stage art, that it should be written for the audience rather than a desk work, and under this principle, he proposed that the music should be expensive and shallow, heavy and interesting, avoid superficiality, and avoid stuffing. A series of unique insights such as noble and clean, sonorous voice, etc.

When it comes to the subject matter, Li Yu believes that the most important thing is innovation, and the first mission is to get out of the way, since the script is called legendary, it is because of its peculiarity, and it has not been passed on without being seen. As for directing and acting, Li Yu also made a lot of pertinent remarks.

In short, Li Yu is the master of opera theory since the Yuan and Ming dynasties, and is a Chinese opera.

The development of theoretical criticism has made a tremendous contribution.