A Study Of Zou Jing - Zhi 's Dramatic Screenwriter

This paper focuses on plays written by Zou Jingzhi, a contemporary Chinese playwright whose works appear in several fields. These literary works are four drama, The Playground, I love Taohua, Flowers on schedule, Lotus, and three opera, The Banquet, Xishi, and The Orphan of Zhao. Zou Jingzhi’s drama has content and form of exploratory, showing a modernist style of experimental theater. It exhibited the criticism, negation and transcendence of aesthetic modernity.Zou Jingzhi’s dramatic story topics intellectuals expressed the relentless pursuit of the ultimate meaning, seeking the correct path, truth-seeking, but retains the right to dream. Influenced by Western Modernist Drama, Character set and narrative structure tend to be that the performance of polyphonic hero, introverted of dramatic conflict, symbolic relationship between the characters and the complex structure of non-line narrative. Mixing lyric poetry words, Beijing dialect, and words in everyday life, the language of his plays outstands the characteristics of the figures prominently and makes its mental activities dramatic. His writing style, breaking through the realistic model of traditional Chinese play, integrating modernism into Chinese legend narrative tradition. It intended to take novel conception. Background is warm. It is placed literati ideals and serve our feelings in his works. All of the materials of his opera come from traditional Chinese classics, he adapts them to be modernistic, giving features of clear story and obvious actions. Thus express common emotions of human being, advertise traditional Chinese values, and promote the international communication of Chinese original opera. As poetry, film, television, theater transboundary authors Zou Jingzhi, his serious scrutiny and reflection is remained in the drama works. In contemporary drama entertainment and nationalization trend evident in the background, showing valuable intellectual "individual" Stand. His attitude of creation-not flowing with vulgar, his technique of creation-constantly absorbing new ideas, and his independent trait of being self-examination should be learned by contemporary playwriter.