On The Context Of Socialist Realism "fourth Screenplay

"The Fourth Kind of Plays"usually refers to the plays which appeared in the middle of 1950s such as The Cuckoo Sings Again, Sharing Happiness and Sorrow and Blowing a Dung Siu Horizontally and so on. These were realistic plays produced in a relatively flexible environment for artistic creation, after the principle of"letting a hundred flowers blossom and a hundred schools of thought contend"was advocated. The plays were based on the creative principle of starting from life rather than from abstract concepts. They described the real life truthfully. They created some live characters and showed some deep concern for people's state of existence. At the same time, the dramatists daringly displayed, exposed the dark side of real life with an independently reasonable attitude and a critical spirit and tried to intervene in life to show the intellectuals'conscience and sense of social responsibility through artistic creation."The Fourth Kind of Plays"had been praised highly at the very beginning. Many critics thought that it was a return of realism and it had broken through the widely existing formulized and conceptual creation at that time.However, very soon some people began to question and criticize"the Fourth Kind of Plays"seriously. Then,"the Fourth Kind of Plays"experienced the rehabilitation, repudiation and rehabilitation again and again. During this process,"the Fourth Kind of Plays"had got some legendary color with ups and downs of the related dramatists, critics, directors and actors.The appearance of"the Fourth Kind of Plays"was related to the cultural context in 1950s. And the tragedy of"the Fourth Kind of Plays"was mainly caused by the theoretical cleft existing within the socialistic realism, the improperly understanding of the realistic creation methods and the situation of political struggle at that time. This dissertation tries to understand"the Fourth Kind of Plays"rationally and probes deeply into the creative state in the same period with"the Fourth Kind of Plays"from the aspects of their background and rough experiences etc., by putting them into the cultural context of socialistic realism, so as to observe and peep into the fate of Chinese realistic dramas from the artistic and aesthetic perspectives.In the dissertation, except for the introduction, the first chapter probes the emerging, naming and background of"the Fourth Kind of Plays"; the second chapter reflects the rough experiences of"the Fourth Kind of Plays"in an objective way; the third chapter researches the creative status quo in the same period with"the Fourth Kind of Plays"from the horizontal perspective; the fourth chapter mainly analyzes the inner cleft within the socialistic realism and the realistic pursuit of"the Fourth Kind of Plays"in the cleft; the fifth chapter focuses on the individualistic presentation of"the Fourth Kind of Plays"in the expression of collective wills.