User:Li Zuyi - Revision history

Li Zuyi at 15:01, 20 June 2025

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Li Zuyi at 12:54, 13 June 2025

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Li Zuyi at 12:49, 13 June 2025

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Li Zuyi at 12:48, 13 June 2025

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Li Zuyi at 12:46, 13 June 2025

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Li Zuyi: Replaced content with "中文原创音乐剧：聂小倩与宁采臣 Chinese Original Musical: Nie Xiaoqian and Ning Caichen"

2025-06-13T12:35:43Z

Replaced content with "中文原创音乐剧：聂小倩与宁采臣 Chinese Original Musical: Nie Xiaoqian and Ning Caichen"

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Li Zuyi at 08:48, 10 June 2025

2025-06-10T08:48:39Z

Li Zuyi at 08:46, 10 June 2025

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Li Zuyi at 08:42, 10 June 2025

2025-06-10T08:42:07Z

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@@ Line 28: / Line 28: @@
 .Indigenous Performance Style
    Western drama follows Aristotle's dramatic concept in his Poetics, "Epics, tragedies, comedies, dithyrambs, and most of the music of the aulos and the lyre - all these are imitations"， emphasizing the imitation of real life and real people, striving for artistic authenticity. Therefore, Western dramas often use elaborate stage settings to recreate realistic scenes. In contrast, Chinese original musicals adopt the Peking Opera principle of " the convergence of the virtual and the real," simplifying the stage settings and using the actors' movements and expressions to recreate the scenes. For example, during the song "Linglong Tower," the stage does not have a physical representation of each floor of the tower. Instead, the actors' movements of going up and down the stairs convey the existence of the tower. Another example is when Nie Xiaoqian appears as a ghost, which should visually create a sense of floating and duplication. To achieve this effect, three people dressed identically to Nie Xiaoqian move in sequence around her, creating the illusion of her ghostly, ethereal movement.（Li 2019,13）
 Terms and Expressions

@@ Line 4: / Line 4: @@
 ⅠIntroduction to the Development of Chinese Musical
-Musicals originated in the United States and the United Kingdom in the 1920s, with Broadway in the US and the West End in the UK being the most prosperous. Over a long period of development, Western musicals have become a diversified industry integrating culture, entertainment, and economy.
+ Musicals originated in the United States and the United Kingdom in the 1920s, with Broadway in the US and the West End in the UK being the most prosperous. Over a long period of development, Western musicals have become a diversified industry integrating culture, entertainment, and economy.
-With China's continuous opening up to the world following the reform and opening-up policy, musicals began to truly enter the Chinese field of vision in the 1980s. The introduction of this new art form from Broadway enriched people's entertainment lives and was well-received. Consequently, the music market started to focus on the importance of musicals, and many forward-looking musicians conceived the idea of creating original Chinese musicals. After long-term exploration and practice, it was not until 1989 that The Game in the Wilderness marked the birth of China's first truly original musical. In his book A Comprehensive History of Chinese Operas and Musical, musicologist and critic Ju Qihong wrote: "Any musical created by Chinese artists in line with the aesthetic tastes of Chinese audiences and the cultural market's consumer demands is considered a 'Chinese musical.'"(Ju 2014)
+ With China's continuous opening up to the world following the reform and opening-up policy, musicals began to truly enter the Chinese field of vision in the 1980s. The introduction of this new art form from Broadway enriched people's entertainment lives and was well-received. Consequently, the music market started to focus on the importance of musicals, and many forward-looking musicians conceived the idea of creating original Chinese musicals. After long-term exploration and practice, it was not until 1989 that The Game in the Wilderness marked the birth of China's first truly original musical. In his book A Comprehensive History of Chinese Operas and Musical, musicologist and critic Ju Qihong wrote: "Any musical created by Chinese artists in line with the aesthetic tastes of Chinese audiences and the cultural market's consumer demands is considered a 'Chinese musical.'"(Ju 2014)
   In recent years, the development of musicals has been particularly rapid. This is not only reflected in the increasing number of original productions and the growing number of theater performances but also in the strengthening of musical talent cultivation and the in-depth research of musical theory. The audience for musicals has also expanded significantly in terms of both coverage and size, and there are more extensive entertainment platforms and variety shows that provide more opportunities for musical exposure. Overall, Chinese musicals present a broad prospect for development.(Wu 2023)
 ⅡPlot Summary
-Nie Xiaoqian and Ning Caichen is adapted from Pu Songling's classic masterpiece Strange Tales from a Chinese Studio. Jointly created by the renowned playwright Guan Shan and musician San Bao, it premiered in Dongguan in 2014 and is one of the representative works of Chinese original musicals.
+ Nie Xiaoqian and Ning Caichen is adapted from Pu Songling's classic masterpiece Strange Tales from a Chinese Studio. Jointly created by the renowned playwright Guan Shan and musician San Bao, it premiered in Dongguan in 2014 and is one of the representative works of Chinese original musicals.
-The musical tells a poignant love story between a human and a ghost. Ning Caichen, a scholar who prides himself on being uninterested in wealth, sex, and unafraid of ghosts, is intercepted by female ghosts on his way to the capital for the imperial examinations. Despite the ghosts' successive attempts to lure him with various temptations, Ning Caichen remains integrity. On the second night, Nie Xiaoqian, who had been betrayed and abused by twelve men in her lifetime, approaches Ning Caichen again, trying to tempt him with beauty, wealth, and the promise of life. However, Ning Caichen maintains his integrity. Nie Xiaoqian is touched by his character, and the two spend the night together, developing deep feelings for each other. Nie Xiaoqian decides to have sex with Ning Caichen, even though it means she will have to endure the torments of the eighteenth hell and never be reborn. After their night together, Ning Caichen tries to find Nie Xiaoqian, who has gone to hell. He is told that he must commit suicide by sword to be reunited with her. Ultimately, the fear of death and the attachment to life lead him to discard the sword, leaving Nie Xiaoqian to suffer alone in hell.
+ The musical tells a poignant love story between a human and a ghost. Ning Caichen, a scholar who prides himself on being uninterested in wealth, sex, and unafraid of ghosts, is intercepted by female ghosts on his way to the capital for the imperial examinations. Despite the ghosts' successive attempts to lure him with various temptations, Ning Caichen remains integrity. On the second night, Nie Xiaoqian, who had been betrayed and abused by twelve men in her lifetime, approaches Ning Caichen again, trying to tempt him with beauty, wealth, and the promise of life. However, Ning Caichen maintains his integrity. Nie Xiaoqian is touched by his character, and the two spend the night together, developing deep feelings for each other. Nie Xiaoqian decides to have sex with Ning Caichen, even though it means she will have to endure the torments of the eighteenth hell and never be reborn. After their night together, Ning Caichen tries to find Nie Xiaoqian, who has gone to hell. He is told that he must commit suicide by sword to be reunited with her. Ultimately, the fear of death and the attachment to life lead him to discard the sword, leaving Nie Xiaoqian to suffer alone in hell.
 ⅢThemes
 .The musical reflects the different spiritual wills of people in society when pursuing their life ideals.
-The character Ning Caichen embodies the playwright Guan Shan's profound contemplation and sharp satire of contemporary life. He claims to be an upright gentleman who is not greedy for wealth, sex, or life. However, when Nie Xiaoqian needs him the most, he surrendered to the fear of death, leaving her to suffer in the eighteenth hell. Compared to the twelve men who had betrayed Nie Xiaoqian before, he is actually the one who causes her the deepest pain. In today's "profit-driven" society, people talk about ideals, but when it comes to making sacrifices for those ideals, they all start to be self-interested.
+  The character Ning Caichen embodies the playwright Guan Shan's profound contemplation and sharp satire of contemporary life. He claims to be an upright gentleman who is not greedy for wealth, sex, or life. However, when Nie Xiaoqian needs him the most, he surrendered to the fear of death, leaving her to suffer in the eighteenth hell. Compared to the twelve men who had betrayed Nie Xiaoqian before, he is actually the one who causes her the deepest pain. In today's "profit-driven" society, people talk about ideals, but when it comes to making sacrifices for those ideals, they all start to be self-interested.
 .The tragic plight and spirit of resistance of women in feudal society.
-Nie Xiaoqian is a realistic character. She suffered abandonment by her father, brutal sexual assault and cruel shackles by other men in her lifetime. However, she is not an isolated case; she represents the misfortunes of all women in feudal society. Despite her struggles, she cannot escape the injustices of a patriarchal society. Yet, she is also an idealistic character. Her portrayal does not lead to complete pessimism and despair. This woman, who has endured countless humiliations and injuries in the human world, should have just endured. However, when facing her innermost desires, she still chooses to follow her heart, indicating that her spirit of resistance has not been completely eroded.
+  Nie Xiaoqian is a realistic character. She suffered abandonment by her father, brutal sexual assault and cruel shackles by other men in her lifetime. However, she is not an isolated case; she represents the misfortunes of all women in feudal society. Despite her struggles, she cannot escape the injustices of a patriarchal society. Yet, she is also an idealistic character. Her portrayal does not lead to complete pessimism and despair. This woman, who has endured countless humiliations and injuries in the human world, should have just endured. However, when facing her innermost desires, she still chooses to follow her heart, indicating that her spirit of resistance has not been completely eroded.
 Ⅳ Indigenous Features of the Musical
 As a representative of Chinese original musicals, "Nie Xiaoqian and Ning Caichen" exhibits many indigenous features that distinguish it from Western musicals:
 .Indigenous Script Creation
-The most significant indigenous feature of this musical is its adaptation from Pu Songling's Strange Tales from a Chinese Studio, specifically the third story in it named “Nie Xiaoqian”.
+  The most significant indigenous feature of this musical is its adaptation from Pu Songling's Strange Tales from a Chinese Studio, specifically the third story in it named “Nie Xiaoqian”.
-Firstly, as a well-known tale from Strange Tales from a Chinese Studio, the story of Nie Xiaoqian and Ning Caichen is familiar to most Chinese audiences, providing a broad popular base for the musical. In recent years, there have been numerous adaptations of this story in the form of plays and films. By adapting a classic literary work, the musical reduces the risk of audience misunderstanding or lack of backgrounds with the plot and characters, which might otherwise affect their viewing experience. Moreover, the original story offers rich plotlines and dramatic conflicts, allowing the musical to retain some of the classic elements without the need for extensive alterations. Additionally, the two main characters are vividly and deeply portrayed in the original novel, which is advantageous for their inclusion in the musical. The combination of music, dance, and other elements further enhances their portrayal.(Li 2022)
+  Firstly, as a well-known tale from Strange Tales from a Chinese Studio, the story of Nie Xiaoqian and Ning Caichen is familiar to most Chinese audiences, providing a broad popular base for the musical. In recent years, there have been numerous adaptations of this story in the form of plays and films. By adapting a classic literary work, the musical reduces the risk of audience misunderstanding or lack of backgrounds with the plot and characters, which might otherwise affect their viewing experience. Moreover, the original story offers rich plotlines and dramatic conflicts, allowing the musical to retain some of the classic elements without the need for extensive alterations. Additionally, the two main characters are vividly and deeply portrayed in the original novel, which is advantageous for their inclusion in the musical. The combination of music, dance, and other elements further enhances their portrayal.(Li 2022)
 .Indigenous Music Creation
-Unlike the arias and large choral pieces commonly found in Western musicals, Chinese original musicals place greater emphasis on integrating national musical characteristics to cater to the aesthetic preferences of Chinese audiences. For example, in Nie Xiaoqian and Ning Caichen, many songs incorporate traditional Chinese vocal styles. A prime example is the song "Linglong Tower," which Ning Caichen sings while being tempted by various ghosts to stay at the inn on his way to the capital. This song is based on the classic melody of the traditional Chinese folk art form, Xihe Dagu, a type of drum ballad from Northern China. The familiar melody, combined with catchy lyrics, depicts the life appearances of different social classes in the tower, making the content more profound.
+  Unlike the arias and large choral pieces commonly found in Western musicals, Chinese original musicals place greater emphasis on integrating national musical characteristics to cater to the aesthetic preferences of Chinese audiences. For example, in Nie Xiaoqian and Ning Caichen, many songs incorporate traditional Chinese vocal styles. A prime example is the song "Linglong Tower," which Ning Caichen sings while being tempted by various ghosts to stay at the inn on his way to the capital. This song is based on the classic melody of the traditional Chinese folk art form, Xihe Dagu, a type of drum ballad from Northern China. The familiar melody, combined with catchy lyrics, depicts the life appearances of different social classes in the tower, making the content more profound.
-Moreover, in addition to the commonly used Western instruments such as the piano, cello, and violin, the use of traditional Chinese musical instruments is another important feature of Chinese original musicals. This musical features a significant incorporation of traditional instruments like the pipa, bamboo flute, and erhu. For instance, when Nie Xiaoqian recounts her tragic past, a mournful flute sound introduces the song, setting the emotional tone. During the musical climax, Western instruments are added to create a more layered and powerful performance, expressing Nie Xiaoqian's anger towards her fate. It is evident that traditional Chinese musical instruments contribute to the "indigenization" of the musical. Their unique craftsmanship, timbre, and playing techniques differ from those of Western instruments, creating a distinct musical color and adding a unique charm to the "indigenization" of the musical.
+  Moreover, in addition to the commonly used Western instruments such as the piano, cello, and violin, the use of traditional Chinese musical instruments is another important feature of Chinese original musicals. This musical features a significant incorporation of traditional instruments like the pipa, bamboo flute, and erhu. For instance, when Nie Xiaoqian recounts her tragic past, a mournful flute sound introduces the song, setting the emotional tone. During the musical climax, Western instruments are added to create a more layered and powerful performance, expressing Nie Xiaoqian's anger towards her fate. It is evident that traditional Chinese musical instruments contribute to the "indigenization" of the musical. Their unique craftsmanship, timbre, and playing techniques differ from those of Western instruments, creating a distinct musical color and adding a unique charm to the "indigenization" of the musical.
 .Indigenous Performance Style
-Western drama follows Aristotle's dramatic concept in his Poetics, "Epics, tragedies, comedies, dithyrambs, and most of the music of the aulos and the lyre - all these are imitations"， emphasizing the imitation of real life and real people, striving for artistic authenticity. Therefore, Western dramas often use elaborate stage settings to recreate realistic scenes. In contrast, Chinese original musicals adopt the Peking Opera principle of " the convergence of the virtual and the real," simplifying the stage settings and using the actors' movements and expressions to recreate the scenes. For example, during the song "Linglong Tower," the stage does not have a physical representation of each floor of the tower. Instead, the actors' movements of going up and down the stairs convey the existence of the tower. Another example is when Nie Xiaoqian appears as a ghost, which should visually create a sense of floating and duplication. To achieve this effect, three people dressed identically to Nie Xiaoqian move in sequence around her, creating the illusion of her ghostly, ethereal movement.（Li 2019,13）
+  Western drama follows Aristotle's dramatic concept in his Poetics, "Epics, tragedies, comedies, dithyrambs, and most of the music of the aulos and the lyre - all these are imitations"， emphasizing the imitation of real life and real people, striving for artistic authenticity. Therefore, Western dramas often use elaborate stage settings to recreate realistic scenes. In contrast, Chinese original musicals adopt the Peking Opera principle of " the convergence of the virtual and the real," simplifying the stage settings and using the actors' movements and expressions to recreate the scenes. For example, during the song "Linglong Tower," the stage does not have a physical representation of each floor of the tower. Instead, the actors' movements of going up and down the stairs convey the existence of the tower. Another example is when Nie Xiaoqian appears as a ghost, which should visually create a sense of floating and duplication. To achieve this effect, three people dressed identically to Nie Xiaoqian move in sequence around her, creating the illusion of her ghostly, ethereal movement.（Li 2019,13）
 Terms and Expressions

@@ Line 4: / Line 4: @@
 ⅠIntroduction to the Development of Chinese Musical
- Musicals originated in the United States and the United Kingdom in the 1920s, with Broadway in the US and the West End in the UK being the most prosperous. Over a long period of development, Western musicals have become a diversified industry integrating culture, entertainment, and economy.
+Musicals originated in the United States and the United Kingdom in the 1920s, with Broadway in the US and the West End in the UK being the most prosperous. Over a long period of development, Western musicals have become a diversified industry integrating culture, entertainment, and economy.
- With China's continuous opening up to the world following the reform and opening-up policy, musicals began to truly enter the Chinese field of vision in the 1980s. The introduction of this new art form from Broadway enriched people's entertainment lives and was well-received. Consequently, the music market started to focus on the importance of musicals, and many forward-looking musicians conceived the idea of creating original Chinese musicals. After long-term exploration and practice, it was not until 1989 that The Game in the Wilderness marked the birth of China's first truly original musical. In his book A Comprehensive History of Chinese Operas and Musical, musicologist and critic Ju Qihong wrote: "Any musical created by Chinese artists in line with the aesthetic tastes of Chinese audiences and the cultural market's consumer demands is considered a 'Chinese musical.'"(Ju 2014)
+With China's continuous opening up to the world following the reform and opening-up policy, musicals began to truly enter the Chinese field of vision in the 1980s. The introduction of this new art form from Broadway enriched people's entertainment lives and was well-received. Consequently, the music market started to focus on the importance of musicals, and many forward-looking musicians conceived the idea of creating original Chinese musicals. After long-term exploration and practice, it was not until 1989 that The Game in the Wilderness marked the birth of China's first truly original musical. In his book A Comprehensive History of Chinese Operas and Musical, musicologist and critic Ju Qihong wrote: "Any musical created by Chinese artists in line with the aesthetic tastes of Chinese audiences and the cultural market's consumer demands is considered a 'Chinese musical.'"(Ju 2014)
   In recent years, the development of musicals has been particularly rapid. This is not only reflected in the increasing number of original productions and the growing number of theater performances but also in the strengthening of musical talent cultivation and the in-depth research of musical theory. The audience for musicals has also expanded significantly in terms of both coverage and size, and there are more extensive entertainment platforms and variety shows that provide more opportunities for musical exposure. Overall, Chinese musicals present a broad prospect for development.(Wu 2023)
 ⅡPlot Summary
- Nie Xiaoqian and Ning Caichen is adapted from Pu Songling's classic masterpiece Strange Tales from a Chinese Studio. Jointly created by the renowned playwright Guan Shan and musician San Bao, it premiered in Dongguan in 2014 and is one of the representative works of Chinese original musicals.
+Nie Xiaoqian and Ning Caichen is adapted from Pu Songling's classic masterpiece Strange Tales from a Chinese Studio. Jointly created by the renowned playwright Guan Shan and musician San Bao, it premiered in Dongguan in 2014 and is one of the representative works of Chinese original musicals.
- The musical tells a poignant love story between a human and a ghost. Ning Caichen, a scholar who prides himself on being uninterested in wealth, sex, and unafraid of ghosts, is intercepted by female ghosts on his way to the capital for the imperial examinations. Despite the ghosts' successive attempts to lure him with various temptations, Ning Caichen remains integrity. On the second night, Nie Xiaoqian, who had been betrayed and abused by twelve men in her lifetime, approaches Ning Caichen again, trying to tempt him with beauty, wealth, and the promise of life. However, Ning Caichen maintains his integrity. Nie Xiaoqian is touched by his character, and the two spend the night together, developing deep feelings for each other. Nie Xiaoqian decides to have sex with Ning Caichen, even though it means she will have to endure the torments of the eighteenth hell and never be reborn. After their night together, Ning Caichen tries to find Nie Xiaoqian, who has gone to hell. He is told that he must commit suicide by sword to be reunited with her. Ultimately, the fear of death and the attachment to life lead him to discard the sword, leaving Nie Xiaoqian to suffer alone in hell.
+The musical tells a poignant love story between a human and a ghost. Ning Caichen, a scholar who prides himself on being uninterested in wealth, sex, and unafraid of ghosts, is intercepted by female ghosts on his way to the capital for the imperial examinations. Despite the ghosts' successive attempts to lure him with various temptations, Ning Caichen remains integrity. On the second night, Nie Xiaoqian, who had been betrayed and abused by twelve men in her lifetime, approaches Ning Caichen again, trying to tempt him with beauty, wealth, and the promise of life. However, Ning Caichen maintains his integrity. Nie Xiaoqian is touched by his character, and the two spend the night together, developing deep feelings for each other. Nie Xiaoqian decides to have sex with Ning Caichen, even though it means she will have to endure the torments of the eighteenth hell and never be reborn. After their night together, Ning Caichen tries to find Nie Xiaoqian, who has gone to hell. He is told that he must commit suicide by sword to be reunited with her. Ultimately, the fear of death and the attachment to life lead him to discard the sword, leaving Nie Xiaoqian to suffer alone in hell.
 ⅢThemes
 .The musical reflects the different spiritual wills of people in society when pursuing their life ideals.
-  The character Ning Caichen embodies the playwright Guan Shan's profound contemplation and sharp satire of contemporary life. He claims to be an upright gentleman who is not greedy for wealth, sex, or life. However, when Nie Xiaoqian needs him the most, he surrendered to the fear of death, leaving her to suffer in the eighteenth hell. Compared to the twelve men who had betrayed Nie Xiaoqian before, he is actually the one who causes her the deepest pain. In today's "profit-driven" society, people talk about ideals, but when it comes to making sacrifices for those ideals, they all start to be self-interested.
+The character Ning Caichen embodies the playwright Guan Shan's profound contemplation and sharp satire of contemporary life. He claims to be an upright gentleman who is not greedy for wealth, sex, or life. However, when Nie Xiaoqian needs him the most, he surrendered to the fear of death, leaving her to suffer in the eighteenth hell. Compared to the twelve men who had betrayed Nie Xiaoqian before, he is actually the one who causes her the deepest pain. In today's "profit-driven" society, people talk about ideals, but when it comes to making sacrifices for those ideals, they all start to be self-interested.
 .The tragic plight and spirit of resistance of women in feudal society.
-  Nie Xiaoqian is a realistic character. She suffered abandonment by her father, brutal sexual assault and cruel shackles by other men in her lifetime. However, she is not an isolated case; she represents the misfortunes of all women in feudal society. Despite her struggles, she cannot escape the injustices of a patriarchal society. Yet, she is also an idealistic character. Her portrayal does not lead to complete pessimism and despair. This woman, who has endured countless humiliations and injuries in the human world, should have just endured. However, when facing her innermost desires, she still chooses to follow her heart, indicating that her spirit of resistance has not been completely eroded.
+Nie Xiaoqian is a realistic character. She suffered abandonment by her father, brutal sexual assault and cruel shackles by other men in her lifetime. However, she is not an isolated case; she represents the misfortunes of all women in feudal society. Despite her struggles, she cannot escape the injustices of a patriarchal society. Yet, she is also an idealistic character. Her portrayal does not lead to complete pessimism and despair. This woman, who has endured countless humiliations and injuries in the human world, should have just endured. However, when facing her innermost desires, she still chooses to follow her heart, indicating that her spirit of resistance has not been completely eroded.
 Ⅳ Indigenous Features of the Musical
-  As a representative of Chinese original musicals, "Nie Xiaoqian and Ning Caichen" exhibits many indigenous features that distinguish it from Western musicals:
+As a representative of Chinese original musicals, "Nie Xiaoqian and Ning Caichen" exhibits many indigenous features that distinguish it from Western musicals:
 .Indigenous Script Creation
-  The most significant indigenous feature of this musical is its adaptation from Pu Songling's Strange Tales from a Chinese Studio, specifically the third story in it named “Nie Xiaoqian”.
+The most significant indigenous feature of this musical is its adaptation from Pu Songling's Strange Tales from a Chinese Studio, specifically the third story in it named “Nie Xiaoqian”.
-  Firstly, as a well-known tale from Strange Tales from a Chinese Studio, the story of Nie Xiaoqian and Ning Caichen is familiar to most Chinese audiences, providing a broad popular base for the musical. In recent years, there have been numerous adaptations of this story in the form of plays and films. By adapting a classic literary work, the musical reduces the risk of audience misunderstanding or lack of backgrounds with the plot and characters, which might otherwise affect their viewing experience. Moreover, the original story offers rich plotlines and dramatic conflicts, allowing the musical to retain some of the classic elements without the need for extensive alterations. Additionally, the two main characters are vividly and deeply portrayed in the original novel, which is advantageous for their inclusion in the musical. The combination of music, dance, and other elements further enhances their portrayal.(Li 2022)
+Firstly, as a well-known tale from Strange Tales from a Chinese Studio, the story of Nie Xiaoqian and Ning Caichen is familiar to most Chinese audiences, providing a broad popular base for the musical. In recent years, there have been numerous adaptations of this story in the form of plays and films. By adapting a classic literary work, the musical reduces the risk of audience misunderstanding or lack of backgrounds with the plot and characters, which might otherwise affect their viewing experience. Moreover, the original story offers rich plotlines and dramatic conflicts, allowing the musical to retain some of the classic elements without the need for extensive alterations. Additionally, the two main characters are vividly and deeply portrayed in the original novel, which is advantageous for their inclusion in the musical. The combination of music, dance, and other elements further enhances their portrayal.(Li 2022)
 .Indigenous Music Creation
-  Unlike the arias and large choral pieces commonly found in Western musicals, Chinese original musicals place greater emphasis on integrating national musical characteristics to cater to the aesthetic preferences of Chinese audiences. For example, in Nie Xiaoqian and Ning Caichen, many songs incorporate traditional Chinese vocal styles. A prime example is the song "Linglong Tower," which Ning Caichen sings while being tempted by various ghosts to stay at the inn on his way to the capital. This song is based on the classic melody of the traditional Chinese folk art form, Xihe Dagu, a type of drum ballad from Northern China. The familiar melody, combined with catchy lyrics, depicts the life appearances of different social classes in the tower, making the content more profound.
+Unlike the arias and large choral pieces commonly found in Western musicals, Chinese original musicals place greater emphasis on integrating national musical characteristics to cater to the aesthetic preferences of Chinese audiences. For example, in Nie Xiaoqian and Ning Caichen, many songs incorporate traditional Chinese vocal styles. A prime example is the song "Linglong Tower," which Ning Caichen sings while being tempted by various ghosts to stay at the inn on his way to the capital. This song is based on the classic melody of the traditional Chinese folk art form, Xihe Dagu, a type of drum ballad from Northern China. The familiar melody, combined with catchy lyrics, depicts the life appearances of different social classes in the tower, making the content more profound.
-  Moreover, in addition to the commonly used Western instruments such as the piano, cello, and violin, the use of traditional Chinese musical instruments is another important feature of Chinese original musicals. This musical features a significant incorporation of traditional instruments like the pipa, bamboo flute, and erhu. For instance, when Nie Xiaoqian recounts her tragic past, a mournful flute sound introduces the song, setting the emotional tone. During the musical climax, Western instruments are added to create a more layered and powerful performance, expressing Nie Xiaoqian's anger towards her fate. It is evident that traditional Chinese musical instruments contribute to the "indigenization" of the musical. Their unique craftsmanship, timbre, and playing techniques differ from those of Western instruments, creating a distinct musical color and adding a unique charm to the "indigenization" of the musical.
+Moreover, in addition to the commonly used Western instruments such as the piano, cello, and violin, the use of traditional Chinese musical instruments is another important feature of Chinese original musicals. This musical features a significant incorporation of traditional instruments like the pipa, bamboo flute, and erhu. For instance, when Nie Xiaoqian recounts her tragic past, a mournful flute sound introduces the song, setting the emotional tone. During the musical climax, Western instruments are added to create a more layered and powerful performance, expressing Nie Xiaoqian's anger towards her fate. It is evident that traditional Chinese musical instruments contribute to the "indigenization" of the musical. Their unique craftsmanship, timbre, and playing techniques differ from those of Western instruments, creating a distinct musical color and adding a unique charm to the "indigenization" of the musical.
 .Indigenous Performance Style
-  Western drama follows Aristotle's dramatic concept in his Poetics, "Epics, tragedies, comedies, dithyrambs, and most of the music of the aulos and the lyre - all these are imitations"， emphasizing the imitation of real life and real people, striving for artistic authenticity. Therefore, Western dramas often use elaborate stage settings to recreate realistic scenes. In contrast, Chinese original musicals adopt the Peking Opera principle of " the convergence of the virtual and the real," simplifying the stage settings and using the actors' movements and expressions to recreate the scenes. For example, during the song "Linglong Tower," the stage does not have a physical representation of each floor of the tower. Instead, the actors' movements of going up and down the stairs convey the existence of the tower. Another example is when Nie Xiaoqian appears as a ghost, which should visually create a sense of floating and duplication. To achieve this effect, three people dressed identically to Nie Xiaoqian move in sequence around her, creating the illusion of her ghostly, ethereal movement.（Li 2019,13）
+Western drama follows Aristotle's dramatic concept in his Poetics, "Epics, tragedies, comedies, dithyrambs, and most of the music of the aulos and the lyre - all these are imitations"， emphasizing the imitation of real life and real people, striving for artistic authenticity. Therefore, Western dramas often use elaborate stage settings to recreate realistic scenes. In contrast, Chinese original musicals adopt the Peking Opera principle of " the convergence of the virtual and the real," simplifying the stage settings and using the actors' movements and expressions to recreate the scenes. For example, during the song "Linglong Tower," the stage does not have a physical representation of each floor of the tower. Instead, the actors' movements of going up and down the stairs convey the existence of the tower. Another example is when Nie Xiaoqian appears as a ghost, which should visually create a sense of floating and duplication. To achieve this effect, three people dressed identically to Nie Xiaoqian move in sequence around her, creating the illusion of her ghostly, ethereal movement.（Li 2019,13）
 Terms and Expressions

@@ Line 1: / Line 1: @@
 Chinese Original Musical: Nie Xiaoqian and Ning Caichen
 Li Zuyi
 ⅠIntroduction to the Development of Chinese Musical
   Musicals originated in the United States and the United Kingdom in the 1920s, with Broadway in the US and the West End in the UK being the most prosperous. Over a long period of development, Western musicals have become a diversified industry integrating culture, entertainment, and economy.

@@ Line 1: / Line 1: @@
 Chinese Original Musical: Nie Xiaoqian and Ning Caichen
-                              Chinese Original Musical: Nie Xiaoqian and Ning Caichen
+Li Zuyi
 ⅠIntroduction to the Development of Chinese Musical
   Musicals originated in the United States and the United Kingdom in the 1920s, with Broadway in the US and the West End in the UK being the most prosperous. Over a long period of development, Western musicals have become a diversified industry integrating culture, entertainment, and economy.

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 Aristotle 亚里士多德
 the convergence of the virtual and the real      虚实结合
 参考文献
 [1] 居其宏 中国歌剧音乐剧通史  安徽文艺出版社 2014.1
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 问题
-.	西方音乐剧什么时候开始引入中国？
+.西方音乐剧什么时候开始引入中国？
-.	中国第一部真正意义上的中文原创音乐剧是什么？
+.中国第一部真正意义上的中文原创音乐剧是什么？
-.	聂小倩与是怎样的一个人物形象？她的形象体现了什么样的主旨？
+.聂小倩与是怎样的一个人物形象？她的形象体现了什么样的主旨？
-.	《聂小倩与宁采臣》取材于哪本中国古典名著？
+.《聂小倩与宁采臣》取材于哪本中国古典名著？
-.	中国原创音乐剧的“本土化”体现在哪几个方面？
+.中国原创音乐剧的“本土化”体现在哪几个方面？
 答案
-.	 20世纪80年代
+. 20世纪80年代
-.	《山野里的游戏》
+.《山野里的游戏》
-.	聂小倩是一个写实的角色，她生前遭遇了父亲的抛弃，残酷的性侵，铁镣的束缚等等惨痛的折磨，她是封建社会下所有女性不幸遭遇的一个缩影。但与此同时她又是个充满理想主义的角色，这个在人间遭受了无数侮辱与损害的女人理应得过且过，但她在面对心中的渴望时依然选择了追随自己的内心，表明她内心的反抗精神依然尚未磨灭。
+.聂小倩是一个写实的角色，她生前遭遇了父亲的抛弃，残酷的性侵，铁镣的束缚等等惨痛的折磨，她是封建社会下所有女性不幸遭遇的一个缩影。但与此同时她又是个充满理想主义的角色，这个在人间遭受了无数侮辱与损害的女人理应得过且过，但她在面对心中的渴望时依然选择了追随自己的内心，表明她内心的反抗精神依然尚未磨灭。
-.	《聊斋志异》
+.《聊斋志异》
-.       剧本创作，音乐创作，表演方式
+. 剧本创作，音乐创作，表演方式
 我在此保证，我没有使用AI的帮助来写这门课的期末论文。

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 Poetics 《诗学》
 the convergence of the virtual and the real 虚实结合
 References
 [1] Ju Qihong. A Comprehensive History of Chinese Opera and Musical. Anhui Literature and Art Publishing House, January 2014.