| At the beginning of twentieth Century, in the tide of the times learning from the West, the modern drama, as the carrier of modern spirit, was introduced into China. With the historic collision of the old and the new ideas, and the exchange of the Chinese and Western culture, the steering of Chinese drama from classical drama to modern drama was completed. In the process of cultural enlightenment and national revolutionary movement, the new drama led the new trend of the modern drama. The new drama sprout in the soil of the Chinese culture and the drama nationalization was started. In the winding process of the drama nationalization, there were explorations from the viewpoint of "the western culture is new, while the Chinese is old" to the knowledge of "the western culture is auxiliary and the Chinese is basic", which contained the practice from critic zing the traditional opera to identifying it, w’ ich had the experiences of coming back from returning to tradition and opposing modern nationalism, which went through the vicious circle of drama politicized and one-sided pursuit of opera. Finally, culminating in the dramatist’s efforts, the modern drama adheres to the drama of the independence and consciousness, holds highly the banner of the spirit of the enlightenment and" human science ", and positively walks on the road of the close combination of nationalization and modernization.The modern dramatists with Wu Zuguang as the representative, has a profound traditional culture and intellectual of independent character, insisting on the fully inclusive and equitable concept of drama, actively exploring the national culture resources, studying and drawing lessons from aesthetic spirit of the traditional opera art, with great concentration joining the creation practice of national drama, integrating the western style of "realistism" and the Chinese style of "freehand" as a whole in the drama, trying different subject matter and fully interesting writing style, deepening the sublimation of the" people" theme, making beneficial exploration to the modernization of the national drama and the nationalization of the modern drama, with the deep realistic spirit, full idealist temperament and unique freehand aesthetic style richen modern Chinese drama. This paper is mainly divided into two chapters, the first chapter includes a comprehensive analysis of the viewpoint about national drama of Wu Zuguang. In this chapter, the study on the multiple effects to drama of Wu, especially on the effects of western drama to drama of Wu, has been launched, which covers the aspects of traditional culture, modern spirit and the Chinese and foreign theatre experience; The second chapter mainly expounds the nationality drama creation of Wu Zuguang, exploring how Wu putting opera art, national spirit and modern awareness together. The first section of Chapter II states the physic characteristics and variation of the nationality drama creation of Wu, deeply tapping the spirit of the times and reality shows of Wu’s drama creation, the second section expounds the modern art of comedy of Wu by analyzing the art of satire and comedy spirit. The third section focuses on the characteristics of character creation in Wu’s drama from a traditional artist’s image. The fourth section discusses the esthetic pursuit, poetic temperament and romantic spirit in Wu’s drama from the perspective of natural harmony of "realistic" and "freehand" art.This paper expounds Wu’s drama by putting Wu’s drama and the process of Chinese modern drama nationalization together, and makes some development research on the effects of western drama to Wa’s drama. This paper pays more attention te the unpopular works of Wu’s drama and Wu’s modern comedy art. This paper aims to elaborate the aesthetic connection between Chinese drama and Chinese opera, and explore the development process of the nationalization of Chinese drama and the law of art, which attempts to provide valuable experience for the drama creation for today’s China. |
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