| dc.description.abstract | Abstract
“Form and Spirit “is one of the most significant theories at the heart of Chinese classical philosophy and aesthetics. The first presentation and discussion of the nature of form and spirit originated in the philosophical debate of the pre-Quin period, later in the Western Han Dynasty, the book Huai Nan Zi connected them with aesthetics. During the Wei-Jin Southern and Northern Dynasties, painters explained and deconstructed art through the concepts of form and spirit leading to the creation of the “Form and Spirit theory” of visual arts. Based on the common principles of Chinese traditional culture and its artistic character, the “Form and Spirit theory” in painting influenced the other Chinese tradition arts, becoming one of the dominant theories of the Chinese aesthetics. During this period of time Chinese opera adopted and transformed the “Form and Spirit theory” from painting, constructing its own interpretation of the “Form and Spirit theory “for Chinese opera.
The purpose of this thesis is to examine the origins and development of the “Form and Spirit theory” of Chinese opera, and analyze both form and spirit components and their significance throughout all aspects of the art. Additionally, it attempts to explore and prove the “Form and Spirit theory “, how it affects Chinese opera from the perspectives of Chinese opera critics, playwrights, actors, the audience, and the stage arts. | en_US |