Review The "Nation's Drama Movement" From A Historical Perspective

Through compares the Chinese Opera and the Western modern drama, "the Nation's Drama Movement" has obtained the new academic angle of view, and proposed :"The Chinese regarding the play, on basic must develop the Chinese drama by the Chinese with the Chinese material which Onlooking play to the Chinese,which we callded Nation's Drama" The idea of understanding the dialectical relationship between drama and opera And building a national drama are of great significance. Article mainly from four part discourse "the Nation's Drama Movement" of the historical process Through the study of its theoretical concept, the concept of drama, sports and theoretical contribution to the cause and the limitations of a review of its history with a view to restoring the " the Nation's Drama Movement" of the original, and give a fair evaluation.The first part discusses " the Nation's Drama Movement" occurrence. In reality, under the narrow construction of the " the Nation's Drama Movement " idea eventually became a "semi-broken dream." In theory they have been actively explored ,content of China's material - called for dramatists to be able to enter the depths of national life to write the natural spirit of the nation; Form of Chinese opera -based on the "freehand", focusing on how to deal with singing and stage artsprogram to build a "national opera" theory building. Western dance form intended to transform the old idea of the action drama, has become the communication of the realistic drama and a decent bridge opera. Through the use of modern technology allows the lighting of the stage freehand richer, reservations stylized costumes, and other types of facial makeup.The second part discusses " the Nation's Drama Movement" to send the concept of the drama. They did not arrest a drama or opera in a single perspective but they constitute a fusion between the two concepts of drama. Took note of the literature on the importance of drama, opera since corrected the end of the Qing Dynasty on the pure pursuit of art and the role of the dependence of the performance of the opera into a vibrant reality of life, which constitute the basis of modern drama theory. Stressed the importance of the reservation form on the opera stylized dance played a significant function of the body's performance, realist drama of the heart can not express through opera can be outside of the dance movements, and figures to make up for the performance of the drama of his lack of activity. Function defined in the drama of social education is not recognized in life, but moved with the form of the United States, and infected people, to comfort people, so that the audience in the United States in the form of access to sensory pleasure. At the same time, they also stage performances of modern systematic introduction to the Chinese theater, the study point to the reality of the script stage performances, drama performances of the various elements of a comprehensive, performance skills, not just by his relations, design, etc.The third part has discussed the reason of "the Nation's Drama Movement" Yu Shangyuan and others on more than studying in Europe and America, sober realism to see that the difficulties faced drama - can not really restore the vision, the reality arena, while also facing a lack of performance figures of the limitations of the inner world. They found that the drawbacks of the West after the drama began in the nation to find a way out of the theater; Western drama of close contacts, so that they started the other hand, the freehand brushwork of Chinese traditional opera; Western drama in the learning time of the freehand brushwork have taken note of the opera and the theater to find a new direction of development, from the opera stage of starting a virtual crack found can not be completely realistic drama in the plight of copying reality, it plays to their country a huge campaign to increase confidence. In addition the Irish theater movement so that they see the existence of a reasonable national literature, and brought self-confidence to develop the national theater, and two aspects of content and form to the "national opera movement" in reference to send to their home theater campaign sponsors.Part IV discusses the " the Nation's Drama Movement" and the limitations of the theoretical contributions. As the introduction of drama in the early days of imports faced with the problem of acclimatized, total Westernization of drama can not be recognized by the Chinese audience, the opera can not be modified partial path to the road of healthy development. The" Nation's Drama Movement "to send a fresh look at the opera and found that the previous neglect of the new content: a decent opera, and that this is the value of opera; and at the same time different from the "nationalistic" and the rigid conventions, drawing on active drama the integration of the transformation, freehand and realism in between set up a "Golden Bridge", combining the advantages of both the Chinese drama out of the road to their own health. Integration of their ambitious Western drama, drama opened up the process of nationalization. But they pursued the concept of artistic drama with the reality of Chinese society has a serious divide in the hope of helping the community even more wishful thinking. Pre-and post-1927 China grim social realities, social rather than focusing first on the need for such dramatic arts, and their failure is inevitable. " The Nation's Drama Movement "represented the idea of the limitations of the theory itself, did not give the" national opera "find a road of healthy development.