A Complete History of Classical Chinese Dramatic Theory

This book presents the first comprehensive study tracing the evolution of dramatic thought in China from its earliest ritual origins to the modern era. Drawing on a wide range of classical texts, commentaries, and critical writings, the book systematically explores the formation, composition, performance, and aesthetics of Chinese theatre across dynasties. Through meticulous examination of key theorists and seminal works, the author reconstructs the intellectual development of dramatic theory, revealing how ideas on form, language, music, emotion, and performance gradually shaped a distinctive Chinese tradition of drama. The study situates these theories within their cultural and historical contexts, offering both a chronological framework and critical interpretation that illuminate the richness and depth of China’ s dramatic heritage. This volume serves as an essential reference for scholars and readers interested in classical literature, performing arts, and the history of Chinese aesthetics.

Yu Weimin is a leading scholar of classical Chinese drama, specializing in premodern theater (particularly nanxi and dramatic prosody). Formerly a professor and doctoral supervisor at Nanjing University, he is now a specially appointed professor and doctoral supervisor at Wenzhou University. His influential works— including A Study of Song-Yuan Southern Drama, The Prosody of Classical Chinese Qu Literature, and A Complete History of Classical Chinese Dramatic Theory— have earned national recognition. Yang Junfeng is a distinguished Professor and former Vice President of Dalian University of Foreign Languages, where he advised graduate students in translation and interpreting. His global academic engagements include research at Carleton University, lectures at Arizona State University, and contributions to the IELTS examination system with the University of Cambridge (U.K.). He has taught graduate courses such as Interpreting Theory & Practice, Legal Translation, and Classical Mythology. Sun Rongrong is a professor at the School of Liberal Arts, Nanjing University and a visiting professor at the School of Humanities, Wenzhou University. She serves as Executive Council Member of the Wenxin Diaolong Society of China and Council Member of the Chinese Ancient Literary Theory Society. Her major scholarly works include Studies on Wen Xin Diao Long (The Literary Mind and the Carving of Dragons), The Critical Thinking Modes of Ancient Chinese Literature, and Textual Research on Liu Xie and Wen Xin Diao Long. Pan Zhidan, Ph.D., a supervisor of MA and MTI students, is Professor of English and Dean of the School of Foreign Languages at Shanghai Institute of Technology. Recognized as a Shanghai Special Professor (2022), she previously served as Vice Dean at Dalian University of Foreign Languages, leading translation research at its Multilingual Translation Research Center.

1 Classical Chinese Dramatic Theory: Its Form, Connotation, Aesthetic Features and Periodization 1.1 Forms of Theoretic Composition 1.2 Connotations 1.3 Aesthetic Features 1.4 Periodization 1.5 Reorganization and Compilation 2 The Emergence Stage: Overview of Criticism of Performing Arts from the Pre-Qin Period to the Tang Dynasty 2.1 Song and Dance and the Theory of “ Rites and Music” in Pre-Qin Classics 2.1.1 Materials Related to Song and Dance 2.1.2 The Pre-Qin “ Rites and Music” Theory 2.2 Theoretical Connotations of “ Records of Music” in Li Ji 2.3 Poetic Theory and Historical Records about Yuefu and the “ Hundred Shows” during the Han Dynasty 2.3.1 Historical Records on the Rise of Yuefu 2.3.2 Flourishing of the “ Hundred Shows” 2.4 “ The Great Preface to the Book of Songs” 2.5 Theory of Rhyming and Doctrine of Form and Spirit 2.5.1 Theory of Rhyming 2.5.2 Form and Spirit in Literature and Painting 2.6 Comments on Yuefu from “ Yue Zhi” in Song Shu 2.7 Records and Discussions in the Wei, Jin, Southern and Northern Dynasties 2.8 Theories in the Tang Dynasty 2.8.1 Song and Dance in Jiao Fang Ji 2.8.2 Song and Dance and Temperament in Yue Fu Za Lu 2.8.3 Views on Music and Dance Reflected in Tang Poems 3 The Embryo Stage: Overview of Dramatic Theory in the Song Dynasty 3.1 Records on the Performance of Song Zaju 3.2 Records and Discussions on the Repertoire and Contents of Song Zaju 3.3 Discussions on the Artistic Features of Song Zaju 3.4 Neo-Confucianists’ Views on Drama and Prohibition of Drama 4 The Maturity Stage: Overview of Dramatic Theory from the Yuan to the Early Ming Dynasties 4.1 A Review of Zaju and Zhong Sicheng’ s Lu Gui Bu 4.1.1 Life and Work 4.1.2 Genre of Qu 4.1.3 History of Zaju Plays 4.1.4 Lu Gui Bu as Dramatic Theory 4.1.5 Influence on Later Theory 4.2 Qing Lou Ji and the Performance of Yuan Zaju 4.2.1 Preface to Qing Lou Ji 4.2.2 Social Status of Actors 4.3 Performing Skills of Yuan Zaju 4.4 Chang Lun by Zhi’ an 4.4.1 Structure of Yuan Drama 4.4.2 Expressing Emotions Through Gongdiao 4.4.3 Singing Skills 4.5 Zhou Deqing’ s Zhong Yuan Yin Yun 4.5.1 Theory of Yuefu 4.5.2 Lyrical Rhyming 4.5.3 Musical Prosody 4.5.4 Influence of Zhong Yuan Yin Yun 4.6 Jia Zhongming’ s Lu Gui Bu Xu Bian 4.7 Zhu Quan’ s Tai He Zheng Yin Pu 4.7.1 Functional Theory 4.7.2 Styles of Drama 4.7.3 Themes of Zaju 4.7.4 Musical Prosody of Northern Drama 4.8 Views of the Enlightenment School 5 The Development Stage: Jiajing and Longqing Eras of the Ming Dynasty 5.1 Wei Liangfu and Nan Ci Yin Zheng 5.1.1 Reform of Kunqu 5.1.2 Emergence of Kunshan Qiang 5.1.3 Singing Techniques 5.2 Li Kaixian’ s Dramatic Theory 5.2.1 Music and Drama 5.2.2 Functional Theory 5.2.3 Bense Theory 5.3 He Liangjun’ s Theory in Si You Zhai Cong Shuo 5.3.1 Bense Theory 5.3.2 Musical Prosody 5.3.3 Emotional Portrayal 5.4 Nan Ci Xu Lu and Nanxi Studies 5.4.1 Origin and Evolution 5.4.2 System of Southern Drama 5.4.3 Bense Theory 5.5 Yi Yuan Zhi Yan by Wang Shizhen 5.5.1 Origin of Chinese Drama 5.5.2 Drama Styles 5.5.3 Language 5.5.4 Influence and Limitations 5.6 Li Zhi’ s Tong Xin Shuo and Hua Gong Shuo 5.6.1 Childlike Innocence 5.6.2 Essence of Characters 5.6.3 Criticism of Drama 6 The Flourishing Stage: Wanli Era of the Ming Dynasty 6.1 Shen Jing’ s Dramatic Theory 6.1.1 Theory of Musical Prosody 6.1.2 Nan Jiu Gong Shi San Diao Qu Pu 6.1.3 Nan Ci Yun Xuan and Bei Ci Yun Xuan 6.1.4 Bense Theory 6.1.5 Influence 6.2 Tang Xianzu’ s Dramatic Theory 6.2.1 Expressing Emotions 6.2.2 Musical Prosody 6.2.3 Performance 6.3 Debate Between Tang and Shen 6.4 Xu Fuzuo’ s San Jia Cun Lao Wei Tan 6.4.1 Naturalness 6.4.2 Plot Analysis 6.4.3 Structure Analysis 6.4.4 Musical Prosody 6.5 Pan Zhiheng’ s Performance Theory 6.5.1 Vivid Representation 6.5.2 Artistic Quality of Actors 6.5.3 Performance Skills 6.5.4 Performance Style 6.6 Wang Jide’ s Qu Lü 6.6.1 Origin of Drama 6.6.2 Musical Prosody 6.6.3