Abstract
"Drama critique", an important form of critical studies of drama in the Ming dynasty, benefits more or less from the critical paradigms of poetry and prose in terms of the consciousness of different schools, the awareness of comparison and the image- and analogy-based aesthetical mindset. Meanwhile, Lü Tiancheng and Qi Biaojia, starting from the "nature and naturalness" theory in poetry criticism, pursue an aesthetical taste characterized by "ideo-mood-imagery" and "feel". By modifying the various indexes of "calligraphic critique" and "painting critique", including the "spirit, exquisiteness, potential and embodiment", they successfully refresh the essence of "drama critique", which reflects the evolution of concepts on drama in the Ming dynasty: the shift of focuses from wording and metrics to overall aesthetic style and to the "skill" versus "subject" debate, etc., and highlights the unique value of "drama critique" as a critical approach.
First Page
88
Last Page
94
Recommended Citation
Wang, Chao. 2017. "From "Poetry Critique" to "Drama Critique": Lü Tiancheng and Qi Biaojia's Critique of Drama." Theoretical Studies in Literature and Art 37, (3): pp.88-94. https://tsla.researchcommons.org/journal/vol37/iss3/7
