The Study On The Communication Of Changsha Little Theatre

In China, stage plays aren’t native dramas and have only developed for over one hundred years up till now. At the beginning of the last century, they had been slowly shown in front of Chinese audience through a new era as Western thoughts were gradually introduced into China. At the very beginning when stage plays developed in China, the content of their performances was so political that their social functions were emphasized. As a consequence, their performance methods were extremely rigid and content was monotonous, thereby leading to a great loss of audiences. By 1982, a breakthrough was achieved in purely“picture frame-type” stage plays prevalent in that period by Absolute Signals performed by the Small Theater of Beijing People’s Art Theater.Its novel stage scheduling and unprecedented directing techniques made Chinese people engaging in drama industry see opportunities of reviving stage plays. In the mean time, movements of small-theater stage plays were initiated in China. At this stage, small-theater stage plays gradually became parts of mainstream drama cultures in various performance forms.Western small-theater stage plays belong to a kind of arts that has emerged with the improvement of Chinese people’s living standards and gradual increase in their needs for spiritual cultures. In the early stage of stage plays, this form of performance was relatively vulgar and only recognized by some urban residents. The formation of such recreational stage plays also hindered artistic and theoretical development of stage dramas for certain period. In Changsha where recreational cultures are developed, commercial dramas targeting at consumer market of popular cultures have become the mainstream of small-theater stage plays.However, such development tendency hasn’t only eliminated essential function of small-theater stage plays for cultural dissemination, but also contributed to a dilemma that performances of small-theater stage plays in Changsha are stereotyped and themes of plays are pan-entertaining. In addition, teams of small-theater stage plays often dominate market by sending tickets. As a result, native audiences greatly lack consciousness of buying tickets, which indirectly leads to unstable ticket sales of these dramas. In this case, routine expenditures of performers and staff inside troupes can’t be guaranteed, which directly contributes to great loss of their talents. In face of such dilemma in disseminating small-theater stage plays, drama-related personnel shall not only improve plays and develop audiences’ habits of watching dramas with exquisite plays, but also need to correctly look at marketization trend of small-theater stage plays and strengthen effects of cultural communications by industrial agglomeration effects of small-theater stage plays. Above all, no matter for governments,practitioners of dramas, media or audiences, all of them shall spare no effort to spread and publicize small-theater stage plays for prospering market of native dramas in Changsha.