The Interpretation Of Political Aesthetics For Drama Criticism Of "Seventeen Years"

Drama criticism of “ seventeen years” refers to the the dramatic criticism of the particular historical period from the founding of the People's Republic of China in 1949 to "Great Proletarian Cultural Revolution" broke out in 1966.Drama criticism of “ seventeen years” has the obvious characteristic of political aesthetics.The content of the political ideology provides for the developing trend and aesthetic discourse of drama criticism,in turn,theatrical aesthetic criticism strongly reflects the tangible or intangible penetration and impact of political ideologies.The connotation of political aesthetics has strong support of the ancient and modern critical resources.From the "Book of Music" to "The Speech in the Yan'an Forum on Literature ",the critical resources about political aesthetics reflect the same strain.As a concept,its core meaning is extreme ideological indoctrination resorting to the literature and art,which is committed to put the individuals on constraints of political framework with aesthetic indoctrination,and it is to constitute a pair of contrary concepts with Enlightenment aesthetics pursuiting extricate the individual from the political and ethical bound.The political aesthetics thought of Mao Zedong as the core political ruler aesthetic thought and its drama criticism practice undoubtedly has a decisive influence to drama criticism of “ seventeen years”,and on the cultural leadership aspirations and pursuit of revolutionary romanticism deeply embodied in the developing trend and idiographic practice of "17 years" drama on creation and criticism.Under the influence of rulers?political and aesthetic thought,a number of theory topics which was controversial and led to the refutation appeared in the field of "Seventeen Years" drama criticism.In the drama field,critics around the "innovation" the fundamental principle of drama development commence rebuttal to explain the implication of this topic.As a model text of the political aesthetics,criticism discussion of the modern drama,highlighting the plight of politics and art of the modern drama development.In ghost operas and drama of God's controversy,it was exposed to political criticism instead of academic criticism led to tragic consequences.The criticism of the stage play field was showing the antinomy of political aesthetics and the Enlightenment aesthetics.Critics expanded the discussion around the theme of meaning and ideology of " the fourth script ",and the characteristics of the " ironic " Analysis on historical and theoretical level.In the criticism of the historical drama of this period,critics not only analysed their excellent text practice but discussed deeply the theoretical issues encluding the historical drama of the " past serve the present " as well as the historical truth and artistic truth.Drama criticism of “ seventeen years” under the influence of the political aesthetic thought,Increasingly narrowed in the space to carry out normal academic criticism,and the trend of political criticism became more obvious and strong.The political unity gradually replaced the academic diversity on criticism with the result of "three prominent " theories having become the only drama critic discourse in the stage of the "Cultural Revolution".At the same time,the Enlightenment aesthetic?expression of ideas and images showed always in an awkward position of "breakthrough",emerged only at a brief moment in the political aesthetics active "withdrawal" or the time to attend.Only in this way,there is the more far-reaching significance of the Enlightenment.In the new era context,the critics should consciously safeguard the independence of attitude and rational position on drama criticism,and keep an appropriate distance between the academic and political.In the environment of a wide range of criticism,we should firmly promote the Enlightenment rationality and modern spirit,and make unremitting efforts for truly modern Chinese drama.