Wu Mei's study of You Zhu-Dun's plays has broadened many horizons. The most fundamental point is to clearly explain You Zhu Dunn's plays from the perspective of drama ontology. Wu Mei believes that "the fact of a dramatist is only half-veiled". As long as it is "reasonable" and convincing, it doesn't necessarily depend on what is true, and drama pursues artistic truth. Wu Mei's exposition on the language, ostentation and extravagance, structure and other aspects of Zhu Youdun's zaju is closely related to this perspective. First, Wu Mei discusses the language of Zhu Youdun's zaju, and thinks that "words are concise and alert, and horses can't pass", and "words are reflected in peach characters, and words are appropriate". If we only point out these, Wu Mei's comments are more like a kind of literary criticism, but Wu Mei paid special attention to the differences in language use between playwrights and writers: "Poets imitate eroticism and shape landscapes. And all scholars are good at this, absolutely ignorant of the screen, and write their own true colors ... The "gambling" in the Yuan zaju "Yanqing Apollo" and the "Dragon Fight" in "Liu Yichuan" were not written by poets. In this way, the criticism of the language of Zhu Youdun's zaju lies in the critical perspective of the drama itself, which provides new possibilities for further interpretation. Secondly, Wu Mei paid attention to the evaluation of Zhu Youdun's plays from the aspects of structure, ostentation and extravagance. For example, when talking about "words of courage", he pointed out: "The third discount is to sing with spies ... one is to rest the last corner, and the other is more lively and deeper than the plot." For example, in terms of structure: "Zaju has a complex structure, and this layout is simple and clean. "Because Wu Mei himself has drama experience, his exposition of the ostentation and extravagance structure of Zhu Youdun's drama highlights the dramatic features of Zhu Youdun's drama. Thirdly, Wu Mei revised and sorted out 24 kinds of Zhu Youdun's zaju, and carefully separated the positive interludes of the original drama. Because the original font size is not clear, it is difficult to distinguish the positive interlining in many places. The Chengzhai drama edited by Wu Mei uses printed fonts, which makes the positive contrast clear at a glance. In addition, Wu Mei revised the melody and pointed out the irregularities, saying that "these are all minor faults of alcohol". It is also the most important achievement in sorting out Zhu Youdun's works. Fourthly, Wu Mei also commented on many other features and achievements of Zhu Youdun's zaju, such as the use of allusions, dialect features and wedges. In particular, Wu Mei often compares Zhu Youdun with Yuan Zaju. Wu Mei's research established Zhu Youdun's important position in the history of traditional Chinese opera by pointing out his inheritance and innovation to the art of Yuan Zaju.
Later, the researcher made an in-depth study on the artistic achievements of Zhu Youdun's Zaju "All Sides" developed by Wu Mei. Zhao emphatically pointed out the changes in the system of Yuan Zaju such as singing in Zhu Youdun's Zaju. If Wu Mei's research on this point also overemphasized the norms of Yuan Zaju, Zhao Zeming did point out that "Zhu Youdun's Zaju in the early Ming Dynasty often exceeded the rules of Yuan people". In addition, regarding the use of allusions, Zhao further emphasized the phenomenon of "a large number of allusions" in Zhu's plays, and pointed out that "Su Qing was driven by two gradual movements" was the most cited, and also pointed out the allusions in Qujiang Pool, Dream of Reunion, Hui and other plays. In addition, Wu Mei once pointed out the phenomenon of using two wedges in Zhu Youdun's zaju, and thought: "There are two wedges in this book ... these are not positive; But this was created by the king, and I dare not denounce it. " Wu Mei thinks that Zhu Youdun's practice does not conform to the routine of Yuan Zaju. Although he did not directly say that Zhu Youdun's approach was wrong, he had reservations about it. According to Wu Mei, Zhao pointed out that there was nothing wrong with Zhu Youdun's use of two wedges, and cited the study of Couplets Collection of Yuan Zaju to point out that some plays such as Luo used two wedges, so Zhu Youdun still followed the style of Yuan Zaju in the use of two wedges. In the 1970s, Zeng Yongyi of Taiwan Province Province further elaborated on the research on the structure and ostentation of Zhu Youdun's zaju in Wu Mei, specifically pointing out: 1. There are often funny songs and dances in Zhu Youdun's zaju; Secondly, in addition to solo, Zhu Youdun's zaju also added duet, chorus, chorus, chorus and chorus, including the singing method of Nanqu, and the breakthrough of folding number may also begin from Zhu Youdun; Thirdly, Zhu Youdun's zaju arranges customs in various ways, including exploring customs, praising customs, inviting customs and chanting customs. Fourthly, the structure of Zhu Youdun's zaju is very rigorous. Through careful arrangement and outline, on the basis of Wu Mei's research, Zeng Yongyi showed the characteristics of ostentation and extravagance structure of Zhu Youdun's zaju more systematically, and inherited and developed the corresponding academic achievements in the first 50 years of the 20th century. Its value can be seen from the fact that its achievements are often cited by mainland scholars.
Dr. Zhao Xiaohong's thesis comprehensively summarizes the achievements of Zhu Youdun's drama art in the past hundred years, and further expands it, and makes a comprehensive study on the basic features, inheritance and breakthrough, stage art and language of Zhu Youdun's zaju art: First, on the basis of previous studies by Wu Mei, Zhao and others, it further points out that Zhu Youdun's drama is the earliest drama named "Wedge". Regarding "Zhe", Zhao Xiaohong pointed out that Zhu Youdun's original zaju was all printed in the early Ming Dynasty, indicating that "Zhe" in the northern qu zaju was not understood as a drama structural unit until the early Ming Dynasty. Regarding the name correction, Zhao Xiaohong also pointed out that Zhu Youdun was the latest, and the zaju writers created the name correction as a part of the zaju system. Secondly, the singing style and foot color are systematically summarized. Zhao Xiaohong believes that Zhu Youdun's zaju really began to deliberately break the system of one-person lead singer in Yuan Zaju, and various singing methods appeared, and all kinds of foot colors could be sung, especially the foot color of "Bu". Judging from the foot color, the foot color of stewed zaju is more than that of Yuan Zaju, especially the lines of Dan, Jing and Gu are thinner, and the paste is used more frequently. Secondly, Zhao Xiaohong thinks that the stage art of Zhu Youdun's zaju is extremely rich, and the interpenetration of art forms such as school-based, Nuo opera, rap, song and dance and team dance is its important feature, and further points out the application of "cross-brocade" in it. Thirdly, it discusses the dialectical unity of elegance and vulgarity in Zhu Youdun's plays.
Like Zhao Wen, Cai Xinxin's exposition of Zhu Youdun's zaju art is also quite in-depth. On the basis of predecessors' achievements, from the aspects of repertoire characteristics, system rules, white body, foot color configuration, artistic techniques and so on. This paper discusses how the Zaju in Chengzhai can absorb the nutrition of Nanqu to innovate on the basis of retaining the style of Jin and Yuan Dynasties, so as to make the art of traditional opera pleasing to the eye and create the embryonic form of court drama. 2. Reservation: "Opening Wine" and "Dissolving a Song" are performed in the way of "breaking up"; Third, skillfully combine Taoist feelings, lotus drops and other rap arts to create an atmosphere with visual and auditory feelings; Fourth, arrange a court team dance or folk dance team to be a body model or close your eyes with songs and music; Fifth, the courtyard development is interspersed or directly integrated into a set of plots, which plays an artistic role in shaping characters, connecting plots and adjusting ostentation and extravagance. This paper discusses the artistic techniques of Zaju in Chengzhai, and excavates a lot of precious materials about the relationship between Zaju and rap, music and dance, and school-based, which has important reference value for in-depth study of the evolution history of Zaju. More and more attention has been paid to the historical value of You Zhu-Dun Zaju. The study of Dun Zaju by Zhao Xiaohong and Cai Xinxin will undoubtedly contribute to the in-depth study of Dun Zaju history in Yuan and Ming Dynasties. For example, consciously creating the concepts of "Bai Bin" and "getting to the point" reflects the strengthening of the concept of "author" in the creation of zaju, which can explain why You Zhu Dun's zaju can be widely circulated.
To sum up: 1. The research on Zhu Youdun's life has been in a weak position, and few researchers pay attention to it, and few achievements are difficult to use. Compared with the relatively more attention paid to zaju works, the research on poetry, calligraphy and painting works is very cold and cheerless, and the research on the latter can not be absorbed into the former; Second, the study of Zhu Youdun's drama thought has got rid of the simple evaluation method in the past, and Zhu Youdun's drama art research has made gratifying achievements, showing a trend of transformation to drama ontology research.