The Emergence And Development Of Contemporary Urban Drama In Northeast China

As the first liberated region in Chinese mainland with the best industrial base and the highest degree of urbanization,Northeast China entered the "contemporary era" under the active guidance of historical conditions and national policies.Northeast society at that time the northeastern city of drama are basically based on the reality of the development requirements,including the influence of the political ideology,from war to peace of the construction of the social labor,strengthening the special status of the northeast "industry pioneer",write "events" and the typical representative of industrial environment image,the northeastern city of the underlying people’s lives and etc.The urban drama in the early period of the liberation of northeast China is the inheritance of yan ’an literary tradition,but on the basis of paying attention to the people,it pays more attention to the material expression of industrial production and the modern transformation of the working methods of the new class,and has walked out a unique road in the combination of ideology,politics and art.Northeast drama of contemporary urban development process is consistent and Chinese literature and even Chinese society culture,through the northeastern city of drama at different stages of writing posture,aesthetic style and social cultural background,explore the special growth environment of the northeastern city of drama,will with the relations between people,city and drama as the core,with its excellent analysis of the contemporary transformation of the northeastern city of drama,Is the basic clue that we grasp the problem.Among them,it pays attention to the regional particularity of "drama and city" rather than taking drama as a single research object.Through the excavation of regional history and culture,cultural introspection is carried out in the context of modernization,and cultural transcendence in regional culture is finally completed.This kind of cultural transcendence is the driving force of the regional cultural reform in northeast China,the spiritual support and dynamic guarantee for the revitalization of the old industrial base in northeast China,and the cultural foundation for the continuous development of economy and society in northeast China.The "Seventeen Years" period was a period of rapid development of urban drama in Northeast China.With the advantage of time of drama creation in the liberated areas of Northeast China,its creation even had a tendency of advance development.In the "Seventeen Years" period,the Northeast playwrights gradually formed a collective consensus and mainstream narrative mode,and emphasized the people’s nature and revolutionary nature of industrial dramas in northeast cities by "shaping new people".Write northeast people’s sense of identity and sense of responsibility as masters in the industrial construction and development of northeast cities,establish professional consciousness,take factory as home,take high-quality work as the ideal of life,gradually clear understanding of modern country and modern professional workers,identify the identity meaning of city builders,All these are the concrete expressions of socialist realism of urban drama in the "seventeen Years" period.Such creative themes and artistic methods have deeply embedded in the creative blood of northeast dramatists and influenced the following decades.During the period of "Cultural Revolution",under the control of extreme ideology,an integrated,single and stereotyped form of literary and artistic discourse was formed,and the regional characteristics of art were greatly weakened.In this period,urban drama in Northeast China rarely has its own originality.Like other regions,it is in the transplantation stage of "revolutionary model opera",and has lost the characteristics of northeast China in terms of content and form.Although this phenomenon is subject to the common influence of social times,it is also directly related to the large-scale "deurbanization--ruralization" tendency of northeast drama at that time and the lack of professional creative talent resources.In the new period of The development of Chinese literature and art,such works as Hate between Father and Son and Primrose made a good start for the revival of urban drama in Northeast China.The urban dramas created by Zhao Yuxiang,Zhao Guoqing and Li Jie had taken the lead in China with profound and extensive ideological themes,actively exploring aesthetic forms,vivid typical characters and delicate and moving emotional expression,which initially established the important position of northeast urban drama in the history of Chinese drama after the reform and opening up.At the same time,"educated-youth-theme" and "Beidahuang-theme" also became important parts of the urban dramas in Northeast China in the 1980s,such as "Peking University Wilderness","North of Beijing Is Peking University Wilderness","Swan Lake" and so on.The conflict between urban and rural areas is expressed in the drama,which also breaks the closure of the theme of northeast urban drama to some extent in the "Seventeen Years" period.In the 1980s,the theater of Northeast China could be compared with the Beijing school and the Shanghai school of drama,with high artistic recognition and high quantity and quality,which had a great influence in China.In the middle and late 1980s,many professional troupers in large and medium-sized cities in northeast China began to pay attention to the diversified creation of artistic sources.The most prominent measure was to actively translate and introduce dramas from Japan,Russia,the United States and the United Kingdom,especially those dramas whose themes could deeply fit the characteristics of China’s social reform and could resonate with Chinese audiences.The introduction of the foreign drama and the northeastern city of drama creation of the present situation there is a certain relationship,because some sensitive and drama critic has realised that the northeastern city of social problem drama the realism of the deepening to begin to enter the bottleneck period,drama theme and the artistic style of curing has created the feeling of chemistry,many plays so "poetic flavor" and "game" immersion,It brings a new aesthetic way for northeast urban drama and expands the connotation and extension of realistic drama creation.From the late 1980s to the early 1990s,influenced by the western trend of modern literature and art and the creation of metropolitan drama in China,the northeast dramatists,on the one hand,drew lessons from expressionism and postmodernism,showing an openness and modernity,on the other hand,they also showed obvious weakness of passive grafting.Mainly due to the lack of mastery of foreign art techniques and the lack of rich artistic imagination.In the mid-1990s,under the attack of the avant-garde experimental drama in Beijing and Shanghai,the northeast drama creation as a whole entered a period of decline,and the former three-way rivalry no longer existed.In the theater world of northeast cities,except for Yang Limin’s "Dangerous Couple" and "The Geologist",Luo Ji’s "Moon moon Rises",Hei Jiwen’s "That Year,In summer",and Li Jingkuan’s small theater drama "Sunset",the other plays are of poor quality and influence.The reasons are complex and varied: the concept of drama has weakened the existence value of "artistic meaning";Playwrights do not pay enough attention to humanistic feelings,and can write "thoughts" rather than "people";The director neglected to make up the lesson of "form",and the creation mode was solidified day by day.The overall ecological environment of drama art in Northeast China is not balanced and healthy enough to realize the virtuous cycle of "promoting development by competition",which violates the fundamental rules of modern cultural construction and so on.Initiated in the early 1990s,the market economic system reform has not only set the direction for China’s development,but also reshaped the spiritual and cultural mentality of the Chinese people.In the overall landscape of modern drama creation in northeast China,playwrights show their sense of loss and frustration when facing the reform of market economy and paying attention to the economic benefits of theater and troupe.It should be said that in this environment of transformation,urban drama should have the greatest development potential and sufficient writing space,but it only stays in the stage of realistic feeling,and the maturity and depth of artistic practice are not enough.Therefore,in the 1990s,some urban drama works appeared in the Northeast theater.In the Northeast city drama in the 1990s,humorous drama language style is its distinctive distinguishing point.The unitary understanding and cognition of comedy and drama by the general audience in northeast China determines their aesthetic preference,making the culture and art in Northeast China a single,mechanical and stereotyped consumer product.One of the most serious problems in northeast urban drama creation during this period was the exaggerated dramatic conflicts floating on the surface,and the comedy elements were stiff and did not conform to the logic of life.In order to fundamentally avoid these shortcomings of continuity,northeast urban drama creation needs to make breakthroughs in many aspects,such as narrative strategy,performance mode,theater configuration and character control.Therefore,since the mid-1990s,small theater drama has become an important opportunity and choice for northeast urban drama to get out of the comfort zone.Unfortunately,the transformation of urban drama in Northeast China did not break through successfully in the 1990s,resulting in the creation of urban drama in Northeast China and even the whole drama industry at the beginning of the new century in an "unfinished state of reform".In the new century,the writer should first reflect on some weaknesses of northeast culture and northeast people’s character,focus on the root cause of the weak transformation of northeast urban drama,calmly consider powerful measures and orientation,and then solve the problems in the new century and open a new situation of drama creation.For the northeast urban drama in the new century,its system feature is the subject reproduction after reflection--to solve the problem affected by the vulgarization of the northeast sketch comedy in the previous stage,and create a new name card of the northeast urban culture.It is an important purpose of northeast urban drama in the new century to truly feel the real life of urban people,to express humanistic feelings,to display modern urban life style full of competition and creativity,and to reflect the humanistic contradictions in the post-reform era.Despite the old North-East part of the famous dramatist still maintained the northeast regional characteristic elements in the creation,but from a more macro point of view,most of the northeast writers emphasize creative imagination and artistic tension,more aesthetic feelings such as induction and culture,thus gradually with the generalization of the regional culture consciousness-the creation of the playwright was able to leave and the constraints of regional culture.It doesn’t matter where you come from,where you come from,what you’ve done.Objectively speaking,the attenuation of the regional culture characteristics reflected a kind of cultural progress,jumped off the narrow regional culture structure and the provinces and cities,regions,southeast to the northwest of boundaries,the dividing line between the community and the people to be able to human fate of the common emotional tendency as a key witness,to use a more macro perspective,higher posture to realize social problem is a convergence,This is also a manifestation of the extension and reproduction of the connotation of northeast urban drama in the new century.