Research On Chinese Drama Drama In The 20th Century

In the study of Chinese drama and literature in the 20th century,the study of the types of stories that break through the boundaries of transcripts and single works has been a blank.In this paper,the use of historical literature,case analysis,comparative law and many literary drama theory criticism,from the perspective of both time and vertical both focus on drama creation and adaptation of the "historical scene" of academic inquiry,and inherited predecessors And the development of the theory of drama,so that all the new ideas based on a solid historical data combing,a new interpretation of the perspective and the excavation of new materials.And from the perspective of "literary research" rather than just "adaptation" point of view,to the 20th century The dramas of Water Margin is very vivid stage,historical features for the structural framework to Peking opera and drama as the main research object,clearly This paper analyzes the relationship between the ideological,aesthetic,artistic and social,political and cultural aspects of the Chinese dramas of Water Margin in the 20th century,and tries to show the inherent law and evolution of the water Margin drama in the 20th century,revealing the richness and complexity of the drama literature As well as infinite possibilities.In the 20th century,The dramas of Water Margin began in the early years of the Republic of China,"opera improvement" and "trendy drama" practice,in the "novel revolution","opera revolution" and social and political reform driven by a strong Exploratory "The dramas of Water Margin".Although this kind of exploration continues along the traditional traditional opera "stylized" performance,but the new unique era of thought and by the Japanese new drama art style has been infiltrated.The first" drama of Water Margin"(civilized drama)"Song Jiang" is the result of the influence of the revolutionary thought on "The dramas of Water Margin" during the May 4th Movement,and the most influential,far-reaching and profound humanitarian enlightenment The spirit of "The dramas of Water Margin" is Ouyang Yuqian's drama(civilized drama)"Pan Jinlian." During the May 4th Movement,the writers of this period made "The dramas of Water Margin" from the objectivity of history to the modernity of the modern sense,and opened the new era of "The dramas of Water Margin" since the millennium.In fact,the prosperity of the creation of The dramas of Water Margin in the 20th century began in the 1930s,both with the political appeal of the times are closely related to "The dramas of Water Margin" and "The opera of Water Margin",but also against the historical trend of the emphasis on "high education" drama.The most obvious feature of this period is the "revolutionary" choice and its practice of" The dramas of Water Margin",and the narrative pattern of "Chivalrous Heroes + Rebellion" formed by Ouyang Yuqian and Ma Yanxiang became "The dramas of Water Margin" The 20th century 's historic choice.Have to say that this creative method "end" of the Water Margin hero "alone" and "situation",and proceed with the bottom of the common people shoulder the task of the times and the task of history."The dramas of Water Margin" because of its resistance to the characteristics of the same time as the anti-war drama writers frequent creation of the object,"the great man" spirit and national righteousness once again to carry forward,under the strong national consciousness,"The dramas of Water Margin”to civil Folk values to shape a number of colorful heroic image and touching story,"The dramas of Water Margin" personality charm,action norms and value orientation,widely infected with anti-enemy soldiers,intellectuals and the general public.More valuable is that in the late Anti-Japanese war to "Pan Qiao Yun" as the representative of "The dramas of Water Margin" digestion of the Water Margin hero "cold" "spirit",to some extent return to the rational enlightenment of the creative path.Based on the national "opera modernization" art reform and the reconstruction of modern national ideology needs,to achieve the arts and services for the workers and peasants,for the "war,education,production services," the political purpose of Yan'an period "The dramas of Water Margin" adaptation both by the original The story of the ultra-stable structure of the constraints,but also through a variety of artistic methods,the traditional story of the revolutionary ideology of the integration,transformation and shelter,greatly enriched the modern drama literature creation theme,aesthetic consciousness and ideological content,but also makes Traditional opera was modernized and popularized at the same time,and was rapidly reformed,politicized and conceptualized.The new form of water Margin in Yan'an period became the classical form of popularization and revolutionization of the Shaanxi-Gansu-Ningxia Border Region and other "Border Areas" and "Liberated Areas",which played a decisive influence on the adaptation of "The dramas of Water Margin" after the founding of the People's Republic of China.Therefore,the "seventeen years" period "The dramas of Water Margin" adhere to the "service for the workers,peasants and soldiers," the literary direction and the "people's" aesthetic norms,continuous reconstruction of Liangshan heroes,especially Liangshan female image.It can be said that the "seventeen years" of the new The dramas of Water Margin can not really achieve the creation of the main body and the expression of its independence,its large-scale production and innovation are in the mainstream ideology control to achieve the "creative transformation."Although the early period of the new period Wei Minglun's "Pan Jinlian" to ridicule for the playwright to provide a creative paradigm,but "The dramas of Water Margin" to the historical "depth" and a critical look at the "Liangshan spirit" It is focused on digging Liangshan heroic individual moral value of the "grass mourning robbery" and other works.However,until the 1990's "The dramas of Water Margin" to complete the commercial creation and market-oriented transformation,highlighting the"kitsch" and "class carnival" aesthetic features,this time,"The dramas of Water Margin"creation finally out of the "historical-political" metaphor This mind is inertia.Throughout the 20th century Chinese The dramas of Water Margin is found:First,"The dramas of Water Margin" language style despite the absorption of the Western drama form and the traditional opera "program",but after nearly a hundred years of playwright pioneering,testing and exploration,has formed a The inner language order and expression,the way of feeling,the way of experiencing,the way of thinking and even the spiritual structure.This kind of stylistic features are implicit in the language of The dramas of Water Margin,which is manifested in the surface of drama,and contains the social thought and humanistic spirit related to the text,which embodies the historical changes and psychology of the dramatists' modern drama thinking and form Structure of the evolution.Second,as an "epic" narrative way,"The dramas of Water Margin" to historical expression and historical metaphor of the way,continue to form a national collective emotional impulse,reflecting the nation to seek a sense of change of great faith.Thirdly,for a long period of time,the twentieth century,the new water culture drama with political countries,revolutionary movement solidarity,"The dramas of Water Margin" almost lost the "original" meaning,was given a strong revolutionary color and thus formed a Kind of political mythological symbols.Although the "political myth" in the 1990s was weakened to a certain extent,"The dramas of Water Margin"still failed to create works that express universal values and human thoughts and feelings in cooperation with national politics and market business.