The Carnival And Weirdness

As one of the most far-reaching playwrights in the contemporary drama world,Guo Shixing has written more than ten plays since he wrote his first drama "The Fish Man" in1989.Among them,the "Three Pieces of Leisure" and "Trilogy of Dignity" series are the most representative,and their art and ideology have been praised repeatedly.Throughout the decades of creative history of Guo Shixing,we can find that although his style of work has changed continuously over time,Guo Shixing has always followed the folk stance and paid attention to the real life dilemma,reflecting the strong writer’s Awareness of social responsibility.Many scholars have analyzed the play of Guo Shixing from multiple perspectives.This article links the play of Guo Shixing with Bakhtin’s carnivalized poetics,based on textual analysis,and combines the history of contemporary Chinese drama with structure and characters.Image,language and other aspects have explained Guo Shixing’s plays,and explored the aesthetic style of Guo Shixing’s plays.The full text is mainly discussed from the following four parts:The first part mainly analyzes the structure of the carnival drama of Guo Shixing,and analyzes his drama text from the aspects of plot and space.There are many carnival-like festival scenes in the drama of Guo Shixing,all presenting a weird and ridiculous drama style.In these non-daily scenes,when the whole people participate in the carnival,the inherent daily order and strict hierarchical order are all broken,and then the dual characteristics of carnival such as death and rebirth,coronation and demise are emerging.The second part mainly discusses the carnival features in the play of Guo Shixing,mainly from different types of characters.In a modern society with material needs above spiritual culture,human alienation has become an inevitable result of the modernization process.The alienated figures of idlers,mental patients,and doctors shaped by Guo Shixing have the commonality of carnival,showing a nearly pathological self-intoxication and self-paranoia.The third part starts from the text of Guo Shixing’s drama,discusses the linguistic features of carnivalization within the text,and considers the creative pursuit of Guo Shixing in the changes.Guo Shixing’s works embody obvious styles of play,vulgarity,weirdness,andnoise.It is these mixed language characteristics that have dispelled the original meaning of the language,questioned the hierarchical structure of the language,and produced a carnivalized literary aesthetic effect.The fourth part,based on the cultural context of the author,explains the formation and significance of the aesthetic style of Guo Shixing’s works.The theme of each of Guo Shixing’s works is not single,but always contains some deep inner meaning.This part is devoted to exploring the internal ideological value and significance of Guo Shixing and his texts,devoting to digging the cultural origin,creative prototype and meaning of life philosophy behind Guo Shixing’s creation,and developing contemporary drama creation by Guo Shixing’s carnival writing.Thinking about the situation.