Early Qing period is an extremely critical time of transition. After the development of late Ming period, Kunqu Opera became flourishing at the time. Suzhou has always been the important base of development of Kunqu Opera. Great number of Kunqu Opera playwrights, composers and artists gathered in the place. Thus, it shows research value and significance. Based on past research on Suzhou Chinese opera in late Ming period, this study adopts the broad perspective of Chinese opera circle research, including static playwrights and theories, plays and related literary work as well as dynamic parts related to the performance such as actors, troupes, professional Chinese opera companies and private troupes. Thus, this study reviews the significance and position of the circle of Suzhou Kunqu Opera in early Qing period in the history of Chinese opera. Outline of the chapters in this study is shown in the following:
Chapter 1 “Study on Tone and Types of Suzhou Chinese Opera Circle in Early Qing Period”: it explores the general development of various tones and types of Chinese opera of Suzhou in early Qing period. Based on the topic, it focuses on Kunshan tone. After the exploration, it shows that the tones were mostly popular in Suzhou of early Qing period. As to the type of Chinese opera, Kunqu Opera was the most prevailing at the time. The rest were folk dramas, such as Tan Huang or Hua Gu, which were not mature.
Chapter 2 “Study of Playwrights and Work in the Circle of Suzhou Kunqu Opera in Early Qing Period”. This study explores the representative playwrights and important plays in the circle of Suzhou Kunqu Opera in early Qing period and generalizes the achievement and influence of Suzhou playwrights and plays in early Qing period as the complementary arguments of history of Chinese opera and the previous scholars. It investigates the presence of Suzhou playwrights’ work and designs “list of plays and table of presence” and “introduction of remained plays of Suzhou playwrights in early Qing period” for 14 composers and analyzes the literary content and thematic thoughts of important plays by examples. Achievement and influence of Suzhou playwrights and plays in early Qing period in history of Chinese opera are classified below: first, equal importance in writing: fulfillment of both sides; second, reflection of history: history writing by plays; third, creation of new topics of the time: realistic writing of life.
Chapter 3 “Study of Interaction Among Suzhou Playwrights in Early Qing Period”: first, it elaborates the internal interaction among Suzhou playwrights; second, it explores external interaction among Suzhou Kunqu Opera playwrights; third, it explores the effect of overall interaction and exchange on the circle of Suzhou Kunqu Opera in early Qing period, the contribution and the significance. This study thus generalizes the following contribution and significance: first, productive number of plays; second, construction of melody concept; third, promotion of performance on the stage. Since Suzhou playwrights in early Qing period were mostly the professional ones and they frequently interacted with each other, they became a group of creation. They cooperated with each other to create the plays. It not only maintained collaborative creation consciousness, but also reinforced the development of the circle of Suzhou Kunqu Opera in early Qing period. By frequent interaction with Tzu-chin Shen, Shao-Ya Niu, Meng-long Feng et al., melody concept of Suzhou playwrights such as Yu Lee was constructed and it influenced their attitude and rules of composition. Those who interacted with Suzhou playwrights in early Qing period were mostly celebrities, literati or hosts of troupes and the descendants of the circle. Thus, the interaction became the medium and after repetitive performance, the plays could be constantly improved in order to be spread; the actors’ skills could be strengthened in the performances.
Chapter 4 “Theoretical Construction of Chinese Opera in the Circle of Suzhou Kunqu Opera in Early Qing Period”. It conducts three thematic research on the circle of Suzhou Kunqu Opera in early Qing period: first, development of refined writing and melody and continuous investigation; second, study of evolution of northern and southern musical composition; third, study of creation theory of Suzhou Kunqu Opera circle in early Qing period. Theory of refined writing and melody of Suzhou in early Qing period is concluded of the stage. Writing of the play and language of the dialogues are both classical and colloquial in order to meet the demand of the general public. It maintains basic literary polishing and popular effect on the stage. As to the study of evolution of northern and southern musical composition, contribution of Standard Notations of Northern Arias was to reconstruct the meter of northern arias of Suzhou in early Qing period. Although the notation significantly influenced the composition of the following northern ones, there are still three deficiencies. Han Shan Tang Arias considerably contributed to meter construction and singing of Suzhou in early Qing period. However, it emphasized the simplicity and practicability and the content might be overly reduced. As to the creation theory of Suzhou Kunqu Opera circle in early Qing period, in this chapter, it is classified into four dimensions: dialogue of writing, thoughts, plots and structure of performance.
Chapter 5 “Study of Professional Troupes and the Actors in Suzhou Kunqu Opera Circle of Early Qing Period”. It focuses on professional troupes and actors in Suzhou Kunqu Opera circle of early Qing period. After the exploration, it shows that in Qing Dynasty, prevalence of private professional troupes was associated with the declination of private companies. Suzhou gathered renowned actors and in early Qing period, important actors in Suzhou Kunqu Opera circle can be classified into three types: actors, singing experts and amateurs. In early Qing period, the main contributions of Suzhou actors are below. First, they enhanced the spread of Kunqu Opera; second, they were engaged in daily life culture; third, they enhanced the prevalence of the plays.
Chapter 6 “Study of Private Companies and Private Dramas in Suzhou Kunqu Opera Circle of Early Qing Period”. It mainly explores two issues. First, private companies of Suzhou Kunqu Opera circle in early Qing period; second, various dramas in Suzhou Kunqu Opera circle of early Qing period. There are three types of private companies of Suzhou Kunqu Opera circle in early Qing period: first, officials and nobles; second, scholars; third, family. This study investigates official dramas and the literati’s arias of Suzhou and shows that official dramas were prevailing in early Qing period. The types of plays selected by the literati in the group activities significantly reflected their attitude and thoughts. They recalled the ancient history and reveals their loyalty and righteousness. Dramas of folk festivals of Suzhou Kunqu Opera circle in early Qing period can be divided into “dramas of idolatrous processions” and “dramas of seasonal festivals”.