Liberation Of Ideas About Historical Plays In The New Era

After the Cultural Revolution, Chinese Mainland appears breakthrough on ideas about "Orthodox" historical plays. The creation of historical plays has been a brand-new situation. This article studies the breakthrough and liberation on ideas about historical plays in thirty years after the Cultural Revolution. This article will analyze the historic process and theory logic of idea’s breakthrough about historical plays in the New Era after the finishing of the Cultural Revolution.The article explains:what are the "Orthodox" historical plays ideas which had reigned Chinese Mainland historical plays’ creation until the Cultural Revolution finishing; What is the theoretic essence of these ideas; It explains the historical process and theory logic of this idea’s breakthrough, as well as the theoretic essence of the breakthrough; It explains the result of the breakthrough, that is the theoretic situation of Chinese Mainland historical subject plays’ creation after breakthrough and liberation.This article thinks that on Chinese Mainland, it forms a historical plays’ creation theory which be expressed as "History truth" and "Make-the past-serve-the-present". The detailed meaning is:When the author writes the historical plays, he must write the history truth firstly, and then compares with reality to make the past use for the present. In other words, the author must find a part of ancient history which is similar with the reality, then describes the history truth to make the past use for the present. This theory knowledge or creative mode is the "Orthodox" historical plays’ idea which reigns Chinese historical play’s creation over a long period of time.Orthodox historical idea is a reasonable creation method, but it has a large insularity because there are two big defects on content’s insularity which are caused by historiography and politicalization.The first defect is from the "History truth" principle. Because the author must write the history truth firstly, then he has qualification to express reality. It makes the historical plays always be blamed by historical science. What is history truth? It is the always unsolved problem of historical science itself. So what is history truth? Does it allow making up? What is the limitation of making up? They are always unclear and always be discussed.The other defect is from "make-the-past-serve-the-present" principle."make-the-past-serve-the-present" is correct, but because the idea on literature and art is used for politics, the "make-the-past-serve-the-present" is used for politics. It restricts the range of "make-the-past-serve-the-present". Also, making the work fall into "alluding" becomes an inevitable problem which we always want to avoid.The article includes four chapters of main body. In the first chapter, it takes Baichen Chen’s "DaFengGe" as an example which is the last peak work of orthodox historical plays. It analysis its creative expression and its embarrassing experiences. That is the beginning of historical play’s liberation in the New Era. Finally, the chapter explaining the forming, developing and content of "orthodox" ideas about historical plays in details.In the second chapter, it describes a variety of breakthrough signs in historical plays from concept to creation since New Era. Analyze it specifically from three aspects:Breakthrough signs one-Rethinking of eighties’theory; Breakthrough signs two:Writing style of "ChenYi Chu Shan" breaks the style which is restricted to historical facts seriously; Breakthrough signs three: For "Orthodox" ideas about historical plays "make-the-past-serve-the-present", "Simaqian" etc plays only break on political signification.In the third chapter, it describes Qihong Guo who is the delegate of breakthrough "Orthodox" ideas. And it explains his historical plays as well as the concept and content of "Passing on spirit historical plays". He presents "Passing on the spirit of history" means describing the historical spirit, not historical facts. That fall in with the view of Moruo Guo. The significance of his historical plays theory lies in it leaded and accomplished returning to the principle that historical play is poem, not history.In the fourth chapter, it takes Huaizhen Luo’s "New historical plays" as an example which is the delegate of walking to freedom in historical play creation field since New Era. And it explains the concept and content of "New historical plays", as well as the signification on theoretic developing of historical plays. Details are as following:From Huaizhen Luo’s "New historical plays", we can find that:when the author uses historical subject in historical play, he only use it as creative material to express the theme. In other words, for expressing the current theme, a fictitious story has same value as a true historical fact. So it is unnecessary to check that the historical story in drama is restricted to historical fact seriously or not. This idea makes the creation field of historical play walking to freedom.At last, we can have a result:after breakthrough, the status of historical plays’ creation and theory is not that from the importance of the stage of history to the stage play but that returning to the art laws in historical play creation field. This idea makes the wide gap between historical play and fictitious ancient play disappeared.So after breakthrough, the status of historical plays’ creation and theory is clearing away of traditional historical plays’ concept, The essence of clearing away is returning to normal state of historical creation.