The Discourse Pattern And Meaning Generation Of Chinese Modern Drama Language

A play script is a discourse which contains the desire of communicating with the audience from writer.Chinese Modern Drama performance is an agreed party,the performance process is the exchange between the audience and performer.After the performance,some of the audience will express their understanding of it in the form of words,which will be a considerable part of understanding the whole text or individual sentences.A work with long artistic vitality could be interpreted differently by several generations in history.The generation of meaning in Chinese Modern Drama language is a long,complicated and changeable process.Through reading the script,we can roughly understand it.But in the process of watching the stage performance,we may learn more from the actors.Considering the social background,the author's interpret,performance advertisement,review articles,other art text of same subject and even personal accomplishment,knowledge,mood,our re-interpretation of the work can be affected in many ways.This paper attempts to analyze the important works in the history of Chinese Modern Drama from the angle of Narratology,Semiotics and theory of discourse analysis,to view the mode and pattern of the generation of meaning in language,and also to understand the experience of choice related to the whole structure and specific form of language in those works.The first chapter discusses the process of the establishment of early discourse pattern in Chinese Modern Drama.Drama was introduced into China with a style of realistic,and it came into confrontation with Chinese Traditional Drama in a short time.In the period of New Drama,a new pattern of dramatic discourse,characterized by realistic view,speech without plot,information dispersion and concentration of plot was built gradually.During the period of the May 4th New Drama and the Amateur Drama,a large number of writers began to create works based on Ibsen's works.Some returnees who had studied abroad promoted the maturity of the discourse pattern in the aspect of script writing and directing,and the language of Chinese Modern Drama became more suitable for the function of theatrical expression.The second chapter discusses the discourse pattern and meaning generation of important works in the period which the language of Chinese Modern Drama has grown mature.The first section summarizes the maturity of some important works in the 1930 s and 1940 s in the aspects including narrative structure,discourse conflict,information hierarchy and discourse function.The second section mainly takes Cao Yu's Thunderstorm,Peking Man and Wu Zuguang's Home On a Snowy Night as examples to discuss the three characteristics of the poetic discourse pattern: implicative,lyrical and symbolic.The third section takes Xia Yan's Under the Eaves of Shanghai and Lao She's Longxu Gully as examples to discuss the discourse pattern and four basic functions of reproducing real life.In the fourth section,Cao Yu's Sunrise and Lao She's Teahouse are taken as examples to discuss one central and two basic components of the discourse pattern of social heteroglossia.The third chapter discusses the development of Chinese Modern Drama language in the discourse pattern in the new period.The first section mainly discusses the inheritance and development of the realistic discourse mode in the new period.The second section mainly discusses the experiments and achievements of experimental drama in language.The third section mainly discusses some characteristics of the discourse patterns of the major works of the influential Performance Workshop in Taiwan region.The fourth chapter explains the influence of language performance on meaning from the perspective of performance.The first section makes a brief historical combing and analysis of the Dramatic Accent,and verify its value.The second section discusses the effect of performance on meaning.The third section takes different versions of Thunderstorm,Teahouse and Rhinoceros in Love as examples to discuss the changes in meaning of the same work in different times,which are presented by different director and actors.The fifth chapter discusses the influencing factors,standards,and contemporary quality of the meaning generation of Chinese Modern Drama language from the perspective of acceptance,as well as three main perspective of the acceptance of modern drama language.