| Chinese contemporary avant-garde drama presents a completely new artistic style both in its contents and forms,which makes it keep away from and even partly topple down the mainstream of Chinese modern drama. But no matter how avant-garde it is, it must be rooted in the traditional resources. What will be probed into in this dissertation is the tactics it chooses while utilizing the traditional resources, as well as the achievement and the deviation existed.The introduction attempts to sort out the object. The products of the avant-garde drama are considerable, but this dissertation only takes Lin Zhaohua and Meng Jinghui's works as examples because of the limitation of the materials, furthermore they both are indeed the most influential directors of avant-garde drama in 1990s and their works can represent the basic appearance of the avant-garde drama. As for"tradition", I follow the concept established by popular usage, viewing Chinese traditional operas and western dramas before 20 century as"tradition". It is self-evident that giving an overall and systematic research on this extremely complicated problem is beyond my ability, so this dissertation pries about a corner of an iceberg from two small but complete points.Part one analyses the avant-garde drama's using of traditional resources in the content, which is presented in plentiful adaptations of originals. The adapting presents two basic tendencies in the theme: to stimulate meanings and to change the direction of culture. The former is not intentionally to turn over the foundational spirit of the original but to excavate the spiritual intension with the variation of the form and the realignment of the construction, making it more in accord with the aesthetic trend and interest of contemporary people. Regardless of the spirit of the time and the original playwright's ideas contained in the work, the latter intentionally excavates the potential theme which is being weakened or covered. Or it just regards the original as the...
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