| Compared to research boom of the Model Peking Opera, the research of dramas in The Cultural Revolution has been neglected or obscured by the academia, but it is undeniable that the dramas in The Cultural Revolution which reflect production struggle, class struggle and route struggle objectively embody the essence and social outlook of The Cultural Revolution. On the basis of detailed historical materials, this paper takes a unique perspective of reception aesthetics and tries to make up, expand and deepen the research of dramas in The Cultural Revolution.Drama acceptance in The Cultural Revolution is divided into three levels of structure:first, the appreciation and feedback of the general audience; second, the theater criticism and research of professional artists; third, the official review and opinion of the authorities who are in charge of ideology and have the power of discourse. The three parts correspond to the lower, middle and upper levels of acceptance from low to high:folk acceptance, expert acceptance and official acceptance, which comprehensively reflect the condition and feature of theater acceptance.The first chapter combs the acceptance trajectory of dramas in The Cultural Revolution. From the popular enthusiasm of Red Guards Dramas in 1966 to 1968, the spotlight and embarrassment of drama "resurrection" in 1972-1974, to instigation of the "conspiracy" dramas in 1975-1976, the dramas suffered the political manipulation and control, its trajectory of acceptance outlines a series of major political struggle and changeable age of The Cultural Revolution. The second chapter discusses the receptive mechanism of dramas in The Cultural Revolution. From the view of the official, the acceptance of dramas is incorporated into the operation mechanism of national politics, the first consideration of accepting object is not the general audience, but the review and attitude of officials at all levels of party and government agencies as well as the rulers of literature and art like Jiang Qing. In the special spiritual climate and political context, there is more power struggle and political conspiracy, expert acceptance is also controlled by official acceptance. Drama acceptance in the folk is simplified as the relationship between educating and being educated, and has formed the acceptance mechanism of instillation and education, rather than the needs of the people-oriented and market regulation mode. The third chapter analyzes the expert acceptance. From the three aspects of the critical mode, critical standard and critical language, this chapter interprets the unique style of drama criticism in The Cultural Revolution. The fourth chapter focuses on contemporary acceptance of dramas in The Cultural Revolution. By examining the acceptance and position of the dramas in the new-period literature/drama history, this chapter thinks about the causes of different fate between the Model Peking Opera and the dramas in The Cultural Revolution, and also combines with the questionnaire survey to explore the "through" type acceptance among the contemporary youth groups.Through the acceptance research of dramas in The Cultural Revolution, we can see the abnormal political, social and cultural development in The Cultural Revolution, theater acceptance is increasingly monotonous and poor due to the distortion it suffered, presenting a kind of alienated "one-dimensional" acceptance. |
