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The Design Stage Performing Arts on Drama Creation Theory of LI Yu

  • The Journal of Chinese Cultural Studies
  • 2018, (39), pp.75-104
  • DOI : 10.18212/cccs.2018..39.004
  • Publisher : The Society For Chinese Cultural Studies
  • Research Area : Humanities > Chinese Language and Literature > Chinese Literature > Chinese Culture
  • Received : January 15, 2018
  • Accepted : February 15, 2018
  • Published : February 28, 2018

Park sung hun 1

1숙명여자대학교

Accredited

ABSTRACT

Li Yu was an important drama theorist and writer in the late Ming and early Qing Dynasties. As a scholar as well as a merchant, he entertained and at the same time enlightened the readers by discussing the structure and many other aspects of drama in his drama theory. Learning from the experience of his predecessors and combining it with his own writing experience, his drama theory has it unique features, and its depth and completeness are beyond the reach of his forerunners. The premise of his theory surpassing his predecessors in various and systematic aspects lies in his familiarity to his audience, and the emphasis on studying them. Li Yu’s study in audience psychology is also indispensable to his success in entertaining audience. From the aspects of audiences influence, composition and psychology, this article explores the explicit audience orientation and many audience theory ideas reflected from Li Yu’s opera theory and writing practice. There has been controversy on understanding of the two concepts: structure and mastermind in Li Yu’s dramatic structure theory. The thinking in LI Yu’s theory of “structure first” embodies the relationship of three principles about plot. They are all based on the idea of skills of making story structure. Generally the thinking reflects the relation between the total and the part, but not of juxtaposition. “Setting up the main idea” is the core principle, which is a further interpretation of the principle of “unusual event leading up to remarkable piece of writing” in the whole theory. The author tries to explain his view on the questions in dispute, and from a new perspective, illustrates Li Yu’s theory. The author holds that the core of Li Yu’s dramatics criticism is the audience importance.

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