Diderot Theatrical Aesthetic Thinking Of The New Theory

Denis Diderot lived in a time when the French feudal monarchy autocracy system was in a decline, the capitalism was developing rapidly, the capitalist class was expanding, and the natural science was making great achievements. Diderot, affected by the epoch, his personal experience and the sages, grew to be an important philosopher, writer as well as an art critic and aesthetic theorist who enjoyed a renowned fame. He established a whole set of theory system for drama, painting, aesthetics and he was the organizer of"the school of encyclopedia". This thesis intents to summarize the achievements made by Diderot in the aspect of drama theory and make innovation on this basis so as to enrich and impel the further academic research.This thesis is divided into two chapters.The first chapter, summarizing the main context of Diderot's aesthetic ideas of drama, includes four parts in details. First part: introduce briefly the social background that Diderot lived and analyse the genesis of his drama theory from the aspect of social background and the context of cultural situation.Second part: Elaborate Diderot's proposition of drame bourgeois. Diderot advocated to establish a kind of new drama—drame bourgeois, with a core of"circumstances and plot theory". Third part: Mainly expound the core position of Diderot's"circumstances and plot theory"in his drama aesthetic ideology on the basis of the second part. Rooted on represent the real life, the circumstances doctrine not only demands to highlight the contrast between character and condition, but also assert the condition should be the main content and object in drama. Thus we can say the circumstances doctrine determines the ideal model for actors'display. Forth part: Concretely elaborate Diderot's drama performance theory which is divided into three main viewpoints, namely, actors'performing skills, the relationship between actors and spectators, actors'status and responsibilities. Diderot's theory initiates the research on Western drama performance, therefore has an important realistic significance and exert profound impact on drama theory research in coming days.Second chapter: Research Diderot's drama aesthetic ideology from three new visual thresholds. First part: Analyze the romantic characteristics of Diderot's drama aesthetic thinking from the features of thinking and art. Although Diderot's drama aesthetic includes both realism and romanticism, Diderot cannot be considered as a romantic,because the romantic description in his works is served for the realism. Second part: Research Diderot's drama theory's impact on the creative work of Lessing, germany, from the aspect of"the relationship of humanity and environment". Yu Qiuyu thought the viewpoint for Diderot and Lessing is not contrary. On this basis, that is to say their points on"the relationship of humanity and environment"are coming down from one continuous line. Third part: Explore Diderot's drama performance theory from the perspective of the influence Diderot made the two big systems—Bulaixite system and Stanislavski system. Diderot was the first one to touch The fourth wall theory in practice, which influenced the viewpoint of Bulaixite and Stanislavski. However, Bulaixite and Stanislavski possess totally different point with Diderot, which is representative of Diderot's paradoxical aspects. Besides, Diderot's distinguishing to actors'sect provide foundation to Bulaixite system and Stanislavski system.