The Aesthetic Process Of Mutualization And Interaction

Through the inspection of the interacting relation of Chinese theatre(referring to modern drama rather than traditional Xiqu)and movies in the first half of 20 th century,this dissertation presents ideas of how the purchase of “modernism” influenced the mutual learning and infiltrating of conceptions and practices between stage and film.The details are as follows:I The Relationship between Chinese Theatre and Movie.The relation of the two artistic forms will be presented by looking at the two artistic forms under the historical backgrounds,and the influence that “civilization drama”(Wenming Drama,including traditional Xiqu)in the early 20 th century had on movies,and focusing on the two climaxes aroused by the active interaction between the two forms during that 1930 s and 1940 s.The traditional irrelevant narration about modern drama history and movie history will be changed to the presentation of development and connection.The interacting history of these two artistic forms will be observed from the viewpoints of cultural ecology,the context of times,transboundary personnel and creative achievements.II The differences and Complements in cultural ideas and creative conceptions of the two forms.This dissertation puts emphasis on the external research on Chinese theatre and movie,and reveals the certain conception formed by the limiting factors like political environment,economic conditions and cultural attributes(such as elite culture and popular culture)during the modern transformation of China.This section is discussed in three aspects: firstly from cultural ideas,the conflict between tradition and modernity;secondly from artistic conceptions,the different focuses and integration of politics,arts and entertainment;thirdly from the creative method,the choice and mix of realism and modernism.The cultural ideas and aesthetic conceptions are the main focus of this part.III The differences and mutual learnings of the two narrative arts.This section is focused on the internal research of Chinese theatre and movies.The narrative viewpoints and constructions of theatrical works and movies are analyzed through the close reading of the text in the term of narratology.The traditional omniscient perspective of theatre has its influence on movies,and the multiple perspectives used in movies also impel theatre to go beyond the limitation of objective perspective.Similarly,the traditional narrative structures of theatre,as point narration and linear narration,became the example for some story-telling movies,and the characteristic narrative structures of movie,as cross contrast narration and scatter perspective narration,influence theatre by making it easily break through the limitation of time and space and reforming of the stage.IV A symphony of stage and silver screen.This final section will further discuss the internal skills and mutual influences of Chinese theatre and movie.Performers and directors are the main focuses.Through the analysis of a group of representative artists and their works,the interaction and development of performing and directing arts in theatre and movie are discussed.Furthermore,the subtle infiltration that enriches the expressions of the two arts is manifested.The differences and similarities between theatre and movies will be given by summarizing the whole dissertation,and the discussion of integrating the two arts in a higher level without losing their own artistic qualities will also be addressed.