A Complete History of Classical Chinese Dramatic Theory
Authored by Yu Weimin, Sun Rongrong
Translated by Pan Zhidan and Yang Junfeng
Hardback ISBN: 978-1-80589-050-8
Ebook ISBN: 978-1-80589-051-5
Page: 908
Pub date: 30th April 2026
About the Book:
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.
A Complete History of Classical Chinese Dramatic Theory
Yu Weimin is a leading scholar of classical Chinese drama, specializing in premodern theatre (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. Two were selected for the National Achievements Library of Philosophy and Social Sciences, winning top awards from China’s Ministry of Education, while his 15-volume Collection of Historical Dramatic Commentaries received the prestigious China Government Publishing Award. Honored as a National May 1st Labor Medalist and Zhejiang Provincial
Model Worker, he serves as Executive Vice Chairman of the Chinese Classical Drama Society and directs the Zhejiang Traditional Opera Research and Heritage Centre, a provincial key research base.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. She has published over 70 academic papers in journals such as Literary Review and Studies in Art and Literature.
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 Centre. An active leader in translation studies, she holds key positions in national and regional organizations, including the Translators Association of
China, CATTI English Division Expert Committee, and Shanghai
Translation Society for Science and Technology. Trained under translation scholar Wang Rongpei, her research focuses on classical drama translation, with publications in China Translators Journal and Foreign Language Teaching and Research. Her award-winning monograph East or West, Equally Enjoyable: A Study on the English Translation of Chuanqi Plays of the Ming and Qing Dynasties (named a Literary Canon work) and her translation project, A Complete History of Classical Chinese Dramatic Theory, a grant from the National Social Science Fund of China, reflect her academic impact. She has received provincial awards and led talent development initiatives in Liaoning.
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. A leading figure in language education, he serves as President of the Liaoning Foreign Language Education Association, Accredited Senior Interpreter for the United Nations, and expert reviewer for national research funds. His honors include the State Council Special Allowance—China’s highest academic recognition, Liaoning’s Outstanding Language Expert, and selection in the elite “Hundred-Thousand-Talent Program”. A prominent voice in China’s academic landscape, Professor Yang has served on key national committees, including the MOE Collaborative Group for Translation Education and the National MTI Education Advisory Board’s Academic Committee. His media work spans CCTV’s The Reader as inaugural guest, Dalian Television English News Anchor, and interpretation for over 50 international conferences. His scholarly output includes over 70 state-commissioned university text books, 36 translations, and 8 monographs, earning awards such as the Ministry of Education Teaching Achievement Prize and Literary Translation Awards for works like Outline of American Literature and Cutting for Stone.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 Structure
6.6.4 Fiction and Reality
6.6.5 Language
6.6.6 Debate Between Tang and Shen
6.7 Lü Tiancheng’s Qu Pin
6.7.1 Criteria for Criticism
6.7.2 Dramatic Plots
6.7.3 Structure
6.7.4 Danghang and Bense
6.7.5 Debate Between Tang and Shen
6.8 Shen Defu’s Dramatic Theory
6.8.1 Achievements of Key Plays
6.8.2 Bense and Danghang
6.8.3 Historical Materials in Gu Qu Za Yan
7 The Stretching Stage: Late Ming Dynasty
7.1 Feng Menglong’s Adaptation and Theory
7.2 Ling Mengchu’s Dramatic Theory
7.2.1 Bense Theory
7.2.2 Naturalness
7.2.3 Structure and Plot
7.3 Zhang Qi’s Heng Qu Zhu Tan
7.4 Qi Biaojia’s Dramatic Theory
7.4.1 Criteria
7.4.2 Function
7.4.3 Structure
7.4.4 Language
7.4.5 Artistic Conception
7.5 Shen Chongsui’s Vocal-Music Theory
7.5.1 Correction of Wei Liangfu
7.5.2 Tones and Tune Patterns
7.5.3 Rhyme Theory
7.5.4 Northern Drama Singing
7.6 Meng Chengshun’s Playwriting Theory
7.6.1 Emotional Connection
7.6.2 Dramatic Characters
7.6.3 Styles
7.6.4 Language
8 The Systemic Stage: Early Qing Dynasty
8.1 Jin Shengtan’s Critiques of Xi Xiang Ji
8.1.1 Theoretical Features
8.1.2 Debate on Licentiousness
8.1.3 Character Analysis
8.1.4 Plot and Structure
8.1.5 Language
8.1.6 Influence
8.2 Li Yu’s Xian Qing Ou Ji
8.2.1 Structuring of Drama
8.2.2 Plot
8.2.3 Language
8.2.4 Musical Rules
8.2.5 Performance
8.2.6 Aesthetic Features
8.3 Huang Zhouxing’s Zhi Qu Zhi Yu
8.4 Mao Shengshan and Mao Zonggang on Pi Pa Ji
8.4.1 Motives and Themes
8.4.2 Artistic Discussions
8.4.3 Mao Zonggang’s “Can Lun”
8.5 Mao Xianshu’s Musical Rules of Drama
9 The Focus Shift Stage: Mid-to-Late Qing Dynasty9.1 Li Diaoyuan’s Yu Cun Qu Hua and Yu Cun Ju Hua
9.1.1 Functions of Theater
9.1.2 Reality and Fiction
9.1.3 Local Operas
9.2 Huang Tubi’s Dramatic Creation
9.2.1 Musical Prosody
9.2.2 Literary Grace
9.2.3 Natural Beauty vs Artificial Beauty
9.3 Jiao Xun’s Theory of Local Operas
9.3.1 Triumph of Local Operas
9.3.2 Repertoire of Huabu
9.3.3 Research on Drama
9.4 Treatises on Theatrical Performance
9.4.1 Yang Zhou Hua Fang Lu
9.4.2 Shen Yin Jian Gu Lu
9.4.3 Ming Xin Jian
9.4.4 Yue Fu Chuan Sheng
9.5 Liang Tingnan’s Teng Hua Ting Qu Hua
9.6 Yao Xie’s Jin Yue Kao Zheng
9.6.1 Style of Drama
9.6.2 Perspective on Drama History
9.6.3 Literary Value
10 The Summarizing and Innovation Stage: Modern Times
10.1 Wu Mei’s Summary of Old Studies
10.1.1 Theories of Drama Writing
10.1.2 Drama History
10.1.3 Musical Notations
10.2 Wang Guowei’s Song Yuan Xi Qu Shi
10.2.1 Life and Studies
10.2.2 Theoretical Achievements
10.2.3 Scientific Methods
10.3 Modern Chinese Drama Reform Theory
10.3.1 Proposal
10.3.2 Theoretical Propositions
10.3.3 Artistic Practice
10.3.4 Significance and Limitations
Conclusion
Works Cited-First systematic synthesis of Chinese dramatic theory across two millennia
The book traces the continuous intellectual development of dramatic theory from pre-Qin ritual practices to modern reform thought, offering a coherent historical framework rarely achieved in existing studies.-Integration of theory, composition, and performance
Unlike studies that focus solely on texts or plays, this work examines dramatic theory as a unified system encompassing writing, music, staging, and performance practice.-Extensive use of primary classical sources
The study draws directly from a wide range of historical commentaries, prefaces, marginal notes, treatises, and anthologies, many of which are rarely discussed in English-language scholarship.-Clear periodization of dramatic theory development
By identifying distinct stages such as emergence, maturity, flourishing, systemic consolidation, and modern transformation, the book provides a precise analytical structure for understanding long-term intellectual change.-Focused analysis of key theorists and critical traditions
Major figures including Tang Xianzu, Shen Jing, Li Yu, Jin Shengtan, Wang Guowei, and others are examined not in isolation but within evolving theoretical debates.-Attention to aesthetics rooted in Chinese intellectual traditions
The book highlights core concepts such as emotional expression, musical prosody, figurative criticism, and moral function, revealing how Chinese dramatic theory differs fundamentally from Western mimetic models.-Bridging literary criticism and theatre studies
By situating dramatic theory between classical literature and performance, the study appeals to scholars in literature, theatre history, musicology, and Chinese cultural studies.-Foundational reference for future research and teaching
Its scope, organization, and depth make the volume suitable as a long-term reference work for advanced study and curriculum development in Chinese drama and aesthetics.A Complete History of Classical Chinese Dramatic Theory
Authored by Yu Weimin, Sun Rongrong
Translated by Pan Zhidan and Yang Junfeng
Ebook ISBN: 978-1-80589-051-5 | Page: 908
