Entrusted by the Ministry of Education after the Cultural Revolution, he held a seminar on ancient operas for young and middle-aged teachers in colleges and universities all over China, and compiled Ten Classical Tragedys in China and Ten Classical Comedies in China, which made a solid step towards exploring the aesthetic characteristics of Chinese operas. Mr. Wang pointed out that the characteristics of China's classical tragedies are: first, compared with western tragedies, the protagonists of China's ancient tragedies are often ordinary working women; Secondly, the moral tendency of China's tragedies is more obvious than that of western tragedies, and the role of aesthetic education is stronger; Third, most western tragedies end in the misfortune of the protagonist, while China's classical tragedies often end in "perfection"; Fourthly, China's classical operas take lyrics as the main lyrical means, so there are often "tragic and moving lyrics" in tragedies that western tragedies lack.
Mr. Wang divides China's classical tragedies into two categories: tragic and bitter, pointing out that the tragic type takes historical figures such as Yue Fei and Zhou Shunchang as the protagonists, which is close to western heroic tragedies; In ancient times, most of them were "bitter", which was completely different from western tragedies. He also divided China's ancient comedies into satirical comedies and eulogistic comedies, and pointed out that eulogistic comedies were in the majority in China, which could not be summarized by Gao Naiyi's saying that "comedies are satisfied with imitating the panic and troubles of the main characters".
In the article "Doubling Sorrow and Joy —— Artistic Features and Aesthetic Implication of China's Classical Tragedy and Comedy", Mr. Wang explored the roots of different characteristics of Chinese and Western tragicomedy from two aspects of geographical environment and cultural tradition, and further pointed out that there is tragic implication in comedy and comedy interest in tragedy, which not only enriches the expression techniques of opera, but also meets the appreciation habits and aesthetic requirements of China audiences. The multiplication of sadness and joy and the collision of yin and yang have produced a stronger artistic effect.
In his later years, he edited Yolanda's opera. The difference between editor-in-chief Wang and other so-called "editors-in-chief" Speech by academic authority at the launching ceremony, Gu Qing Manuscript by Zhonghua Book Company. His poetic achievements and thoughts.
Literature history research
The research and application of the new theory has written a number of high-level academic papers. Especially in exploring the evolution of motif, it is still enlightening. 1962, co-edited with Mr. You Guoen, History of China Literature. Based on the basic principles of loving learning, life and students, Mr. Wang sowed the seeds of ancient literature, especially ancient opera research with a serious, rigorous, modest and open-minded attitude, cultivated an academic echelon, and became the only remaining ancient opera research team in China University.
Wang Qi was one of the first doctoral supervisors in China, so CUHK became the first doctoral program in ancient literature in China and one of the earliest national key disciplines. He is also a member of the first discipline evaluation group in the State Council, the deputy editor of the Encyclopedia of China, Opera and Quyi Volume, the president of China Ancient Opera Society, and the consultant of China Rhyme Society. In terms of social part-time, he used to be the head of the Chinese Department of Sun Yat-sen University, the vice chairman of Guangdong NLD, and the member of the third and fourth CPPCC.