The Subjectivity Consciousness In Chen Yaxian’s Dramatic Creation

The subjectivity consciousness of dramatic creation bearing the responsibility in expressing drama spiritual nature plays a crucial role in the selection of subject matter, artistic conception and stage production. This thesis on the basis of Chen Yaxian’s dramatic creation in the new era draws a tentative conclusion on subjectivity consciousness of drama by analyzing humanity value and personality conflict in creative consciousness. This thesis chooses Beijing opera Cao Cao and Yang Xiu as object of study since that it includes not only ample literariness and humanity theme but also unique charm in stage practice and artistic practice. From the aspect of special specialty in this play, it bears the weight of the inheritance and development of Beijing Opera, retains advantages of traditional drama and attempts international dramatic theory. This drama reflects expression of subjectivity consciousness in profound humanistic spirit and humanitarianism. Compared with Cao Cao and Yang Xiu in the aspect of subjectivity consciousness of dramatic creation, text creation of Boundless Landscape and Yama Dream are equipped with more tragic meaning in real life and humanitarianism. This thesis takes dramatic enlightenment of the May Fourth Movement as the model for the reconstruction of current drama spirit by introducing general layout of dramatic creation and general situation of current drama. Regarding to reconstruction of contemporary drama enlightenment, the subjectivity consciousness in Chen Yaxian’s dramatic creation offers ways and methods for reference, which will have a great influence on the development of drama in the new century.This thesis regards Chen Yaxian’s drama creations as the point cut. In chapter one, it gives an overview on subjectivity consciousness of drama creation and introduces Chen Yaxian’s drama creation. In chapter two, it analyzes new look of Chen Yaxian’s drama creation by taking Cao Cao and Yang Xiu as example and explores inheritance, derivation and fission on the basis of tradition drama from the aspect of elements of Chinese operas, characteristics of Shanghai-style Beijing opera and drama property. In chapter three, it elaborates that the expression of subjectivity consciousness of Chen Yaxian’s drama applies modern theory and technique by taking stage practice of Cao Cao and Yang Xiu as example. In chapter four, it explores humanism of Chen Yaxian’s drama and modernity enlightenment of drama by taking three different styles of dramas as examles, such as Cao Cao and Yang Xiu, Boundless Landscape and Yama Dream. In chaper five, it puts forward assumption and prospect about spirit reconstruction of current drama by using creation phenomena of contemporary drama as the example.