Aesthetic Tendencies Study Of Tian Han's Theater

The development of ancient and modern history of literature, at home and abroad, shows that the men standing on the stage of literature, has also played multiple roles in promoting the development of literature. In modern Chinese literature, there is the novelist and poet, such as Lu Xun, Bing Xin; the novelist and dramatist, such as Mao Dun, Lao She. However, the poet and dramatist seldom appears. In addition to Guo Moruo, Tian Han is a representative. Tian Han's roles not only show his multiple effects on the advancement of modern Chinese literature, but also provide a variety of perspectives for our comprehensive understanding of Tian Han's status. Tian Han is a outstanding Chinese proletarian cultural"warrior", a founder of Chinese filmography movement, a drama reform pioneer and the author of People's Republic of China's national anthem. He has several identities in all his life: drama writer, opera reformer, film screenwriter, novelist, writer word, poet, literary theorist and social activist.As for Tian Han's literary world, his dramatic achievement is so prominent that increasing numbers of modern literary critics have been focusing on his drama,which overshadows research on his poetry and other areas. Meanwhile, apart from some reviews on the overall grasp of his work, systematic findings rarely occur. However, Tian Han as a writer, poet, his great achievements, so that the history of modern Chinese drama, Chinese Opera history, modern Chinese film history, the history of modern Chinese literature, researchers in various fields have been deeply felt: Tian Han in these areas all left impressive attractions.This paper attempts to make a whole study on Tian Han's literary world at the basis of Tian Han's aesthetic appeal, to restore the original history and display the complete image of Tian Han and Tian Han's lush inner world and art world. The introduction part of this paper explains the origin of the thesis, research review and problems to be resolved. Through sorting out aestheticism's influence from the West to Japan and then to China, we has concluded Tian Han's writing characteristics, different from the West's and Japan's and even different other aesthetic writers'of the same period in China. The West emphasizes on the enjoyment of aesthetic decadence - decadence doctrine, and Japan is mainly focused on the aesthetism of sensual stimulation– sensationalism. As to Tian Han here, he insistes on aesthetic philosophy of real life - optimism, different from the extremely pure aestheticism pursued by Zhou Zuoren and He Qifang of the same period and the pornographic aestheticism emphasized on the lower body by Shao Xunmei and Teng Gu. Tian Han possesses a unique aesthetic feature.The first chapter describes the history of Tian Han's art path and the form of the thughts of "Art for art's sake" and "art of life and art of living" and their manifestations in his works, which mainly in two aspects of writing: only art and only love. That is, Tian Han's spirits in his writing are art and love, flowing between which is the blood of martyrs or catechumens. With pure characteristic, his writing shares a pure static and trikle-like beauty.The second chapter tells Tian Han's creation combining aestheticism and Chinese revolution facts, from a variety of topics with the axis of "Our self-criticism". Chinese drama, since its beginning, is based on national salvation. Thus, Tian Han, after summing up gains and losses over the past aesthetic creations, decides to concentrate on depicting aesthetcism on revolutionary passion of national salvation. It includs salvation-reflecting drama, historical drama, opera and opera adaptation, film, poetry, lyrics, etc., embodied by the sympathy and help towards the war and the working class with the spirit of heroism. These works invariably show Majestic revolutionary aestheticism. In a sense, they are breakthrough of aestheticism. But Tian Han still stick to his two elements: only art and only love, the combination of which makes the subject of the revolutionary war even more colorful.The third chapter mainly describes Tian Han reflectes the pros and cons of his own personality, his own narrative of love and marriage and his calmness after flight into reality. From the shift in earliest thirties to the fifties of the anti-rightist struggle and then admit so-called mistake during the Cultural Revolution etc., we see a patriotic adherents, but also see a distortion of soul, therefore, we shall give an objective and fair assessment. We shall objectively evaluate Tian Han's love affairs and marriage, recognizing his sentiment, while not avoiding a biased view of his love. Thus his marriage road is bumpy and tortuous. In my analysis of his life experience of creation and his beauty of calmness, i end with the death beauty of his persecution of the Cultural Revolution, manifested by a deliberate study of White Snake in "White Snake". This shows us the tragedy of a generation of intellectuals in the extreme left political environment. Tian Han even after the establishment of new China has been at the top, made a theater of the "little emperors", but he still looking downward, concerned citizens, is obsessed with art, it lay on the official, living hard, uncorrupted. This is very calm and beauty of his most powerful expression. At the same time diary and letter of Tian Han is also very calm and beautiful to show his respect.The conclusion part of the paper is mainly to make a historic position of Tian Han. Through the researches and comments by critics, his title has varied, poet, dramatist, theater activist, writer, and so on. However, according to my analysis on Tian Han and its works, I came to think Tian Han is a patriotic artists, because he is not suitable for complicated philosophy of struggle, he is a talented Patriotic artists, not a politician. Therefore, this is his true historical mission.