The Balance Between Intervention And Aesthetic

Zhao Yao-min is the first person who is consciously committed to the construction of "absurd comedy" theory and creative practice. And that the absurd comedy, not just transplant the western absurd drama to Chinese drama, but also Zhao Yao-min inherit and expand Chinese drama (especially comedy).Zhao Yao - min’s absurd comedy has a clear " Humanism " basis and clear reality demands, the one hand, it connects to the satirical comedy and humor comedy, on the one hand, it reveals people to understand the characteristics of comedy and tragedy. When Zhao Yao-min make absurd comedy close to human existence, he change drama framework again. In other words, Zhao Yao-min eventually beyond absurd comedy.The thesis consists of three parts, introduction, six chapters, Conclusion.Introduction part is divided into two sections, the first section is the research review of Zhao Yao-min’s drama of academia before; the second section consists of the topic background, research ideas and the problem to be solved.The first chapter is divided into two sections. The first section mainly discusses the formation of the concept of modern comedy in China, as well as the main types of modern comedy, humor comedy and satirical comedy. The second section discusses of their special characteristics of humor comedy and satirical comedy. During this inspection, we found that there are unfinished tasks of humor comedy and satirical comedy in the art aesthetic. That is life is the unity of tragic and comedic. We believe that Zhao Yao-min’s absurd comedy complete this task. At the same time, by a brief comparison of Guo Shi-xing and Zhao Yao-min, we found that the way to achieve the above task of Chinese Comedy can still be diverse. In this diverse, every writer is able to retain their own characteristics. Zhao Yao - min’s feature is that he treat the real life both actively and detached.The second chapter discusses why Zhao Yao-min is able to accomplish the above task in his absurd comedy, as well as the impact on Zhao Yao - min when he had accomplished the above task. The first reason of Zhao Yao-min to construct absurd comedy is that he is keen on comedy. Therefore, when Zhao Yao-min refuses tragedy is not so unashamedly. But the tragedy is not the opposite of Zhao Yao -min’s absurd comedy, which is satirical comedy. Zhao Yao-min approves the critical spirit of the satirical comedy, but not the target of the criticism of the satirical comedy. Zhao Yao-min’s absurd comedy ultimately retained the critical spirit of the satirical comedy, but he move the critical spirit from the script to outside. Absurd comedy admit era and rationality of man and society, it objectively descript the era and rationality of man and society, with the help of absurdity and ultimately deny them on the stage. This both involved and detached attitude makes absurd and the artistic will not contradict each other. With the combination of absurdity and artistic, Zhao Yao-min recognize the unity and opposites of tragic and comic. At the same time, realize the unity and opposites of tragic and comic, Zhao Yao-min aware of the task of creation is to grasp the survival of people of tragic and comic, absurd is not the most important to grasp the tragic and comic for peopleThe third chapter analyzes Zhao Yao - min’s plays. First we analyze the tragic and comedy of absurd comedy of Zhao Yao-min. Zhao Yao-min’s absurd comedy, such as "genius and crazy "," Alarm "and" singer and a chimpanzee ",and so on. In these plays, the tragic is revealed to absurdity face, but he intentionally shows tragic with absurdity face, but also makes us go beyond the tragic figures, realize comedic in the presence, that is the freedom of the individual personality. Meanwhile, Zhao Yao -min’s mature absurd comedy is the one of comic and tragic on both sides. The fourth chapter we discuss Zhao Yao - min’s other plays which less in line with absurd comedy. These include "original sin", "midnight mood", and so on. In these plays, Zhao Yao-min gives up actively involving in the gesture. Zhao Yao-min focuses on portraying the tragic human survival in these plays, and, Zhao Yao-min make each character maintain their own dignity, and thus survive complete performance of tragic and comic.The fifth chapter is the reflection of the overall plays of Zhao Yao-min. In this type of scripts, philosophical thinking crowding out the location of the artistic. These include "Bluff1, "Variations", "My dear, you are a mystery" and "lesson". These plays’is not successful, which are able to show sincere of Zhao Yao-min only. This sincere is the same as satirical comedy, they all represent the artist’s love of life and dedication. The sixth chapter is the reflection of Zhao Yao-min’s drama. We carry out from two aspects. From the perspective of absurd comedy, we find that Zhao Yao-min make efforts to find a balance between the absurd and artistry, and after contrasting Zhao Yao-min’s absurd concept and Camus’s absurd concept, we find that the starting point and foothold of Zhao Yao-min’s absurd comedy is the attention of reality and life. Zhao Yao-min’s attention of real life also had been affecting the choice of Zhao Yao-min dramatic themes and dramatic form. Finally, we analyze helpful and threats of Zhao Yao - min’s philosophical thinking for his creation. Philosophical thinking make Zhao Yao-min recognize the unity of tragic and comic; but when philosophical thinking replace the artistic, philosophical thinking becomes the threat of artistic.The conclusion,"Life comedy", examines the close relationship between comedy and life with a macro level. We find that the functions of comedy in life confront each other but all indispensable, each of them exist because of its unique nature and value.