So, what exactly was Sanskrit theatre like? Nevertheless, this "Southern" period of the Song dynasty was one associated with economic robustness and population growth, together with continued Chinese artistic achievements. During the Yuan dynasty the prestige of both theater and of the use of vernacular language in art and literature were probably related to the fact that the new Mongol dominated regime less understood the older, classical language and forms. [8] The long-term legacy of the zaju theater was thus not only regarding the development of Chinese opera over subsequent centuries into the present day; but, also, despite the ensuing Ming dynasty restoration of prestige to legacy literary forms, the zaju form contributed to the increased prestige and popularity of vernacular forms such as the novel which ensued in the Ming dynasty literature. A new emphasis on the use of the then current, vernacular Chinese appears during the period of Yuan dynasty poetry. Zaju, (Chinese: “mixed drama or play”) Wade-Giles romanization tsa-chü, one of the major forms of Chinese drama. [5] Famous playwrights (that is, authors of zaju) include Guan Hanqing, author of The Injustice to Dou E, and the author Bo Renfu,[6] who wrote three existing plays, plus a lost work on Emperor Xuanzong of Tang and his lady Yang Guifei. On one hand, the zaju theater is the product of a long process of Chinese art, music, and poetry; on the other hand, the zaju also appears as a phenomenon resulting from a combination of cultures of Eurasia over time. However, the political and social disruptions associated with the founding of the Yuan dynasty have resulted in a relative lack in terms of surviving material to provide detailed information in this regard. Zaju represents a period in the development of the Chinese Opera.

The three major religious influences in Yuan China also appear in Yuan poetry, in various ways. Zaju had its genesis even before the Yuan dynasty (1271–1368). This resulted in opportunities for aspiring playwrights to write for zaju, both for those playwrights relatively new to literature and for those members of the traditional shi class who could no longer succeed as poets and essayists, and were willing to embrace the zaju. Major questions remain about the relationships between this artistic and political process in regards to how it is known in relationship to the zaju form of art. An example of this cultural legacy can be seen in the case of Yuan Haowen (1190–1257), a northern writer and poet who served under the Jin administration, but went into retirement at the advent of its fall to the Mongols. [8] The long-term legacy of the zaju theater was thus not only regarding the development of Chinese opera over subsequent centuries into the present day; but, also, despite the ensuing Ming dynasty restoration of prestige to legacy literary forms, the zaju form contributed to the increased prestige and popularity of vernacular forms such as the novel which ensued in the Ming dynasty literature. Zaju was a form of Chinese opera which provided entertainment through a synthesis of recitations of prose and poetry, dance, singing, and mime, with a certain emphasis on comedy (or, happy endings).

The Qu (Chinese: 曲; pinyin: qǔ; Wade–Giles: chü) form of poetry from Yuan dynasty may be called Yuanqu (元曲 P: Yuánqǔ, W: Yüan-chü) form of poetry is a type of Classical Chinese poetry form, consisting of words written in one of a number of certain, set tone patterns, based upon the tunes of various songs. Loyalty is the theme of the history play Zhaoshi guer (“The Orphan of Zhao”), written in the second half of the 13th century. Zaju is a genre of dramas that had its origins in the Song Dynasty. Monumenta Serica, 17, 332 – 333. [3] Some information, however is available through knowledge of contemporary theater and the surviving associated documents. Traditional Chinese opera (Chinese: 戲曲; pinyin: xìqǔ; Jyutping: hei3 kuk1), or Xiqu, is a form of musical theatre in China with roots going back to the early periods in China.It is an amalgamation of various art forms that existed in ancient China, and evolved gradually over more than a thousand years, reaching its mature form in the 13th century, during the Song dynasty (960–1279). Much of the information on Yuan era plays (that is, "operas") and playwrights derives from a book written during this time period which is entitled Register of Ghosts. Founded in 960, the Song dynasty reunified most of the traditional Chinese heartland from the North Central Plain to the area of the Yangzi River. By signing up for this email, you are agreeing to news, offers, and information from Encyclopaedia Britannica. The Columbia Anthology of Yuan Drama. The only other possible theatre form which might be considered to be the earliest xiqu form is Yuan zaju, which arose with the Yuan dynasty, immediately following the Northern Song. In order to understand Yuan drama we must understand the society in which it developed. Yang, R. (1958).

On a more purely literary level, much of the poetry of the Yuan period is in the form of the qu poetry verse, which basically became an independent form of art, removed from its original theatrical and orchestral context: written after the model of the cadences, or set tone patterns, known from the arias of the zaju theater, the Chinese Sanqu poetry eventually became a separate tradition, in the category of poetic literature, rather than in the category of the performing arts. In Asia drama, dance and music are inseparable. [1] One example of poetic continuity from the Song to the Yuan period is the case of Zhao Mengfu (1254–1322), who although a member of the royal family of the Song dynasty, produced poetry and became rector of the Hanlin Academy under the Yuan.

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