The Dramatic Study Of Dccudrama Made In China

In people’s traditional impression, due to failed in recording the process of the development of the history in time, historical humanity documentary always adopts the image and commentary mode to restore the historical images, which is boring and dull. With the popularization of historical humanity documentary and the formulation of documentary market, what audience expect to acquire from documentary is not only knowing some historical knowledge but also getting a kind of spiritual and visual aesthetic satisfaction. So how to respect the history, at the same time, meet audience’s aesthetic need which is increasingly particular? To keep a balance between two has becoming an important challenge for historical humanity documentary.Since the 1990s, as the increasingly marketization of documentary and the frequent communication of documentary between China and foreign countries, US Discovery Channel and National Geographic Channel have aired docudramas which focus on the story and Pay attention to the application of dramatic techniques. These docudramas have been introduced into country successively. This new type of documentary is gradually being known to the industry and gradually began to be tried. Influenced by that, representative docudramas such as Ad 1644, High Crimes, Higher and Higher, The Journey of Xuan Zang, The Bund, Yuanming Yuan and so on have set off a new round of the climax of documentary. Those docudramas use dramatic technique to show figures’rich and solid character, elusive inner world, ups and downs of the fate, subtle relationship and suspenseful story conflicts, which enabled the documentaries to have more worth-seeing and satisfy audience’s requirements of nice documentaries, and then attract audience’s interests of watching documentaries. Dramatic technique has become the most important factor in the success of the docudramas, which is also the fundamental aesthetic characteristic.The first part of the paper is the introduction, which expounds the present situation of the research on the record play, the current situation of the research of dramatic technique and the current situation of the research on the dramatic technique of docudrama. In order to avoid the ambiguity caused by the various concepts, the theory of dramatic technique adopted in this paper is based on the connotation and related ideas of Professor Tan Peisheng. Besides, at present, the document and materials of documentary from different angles are abundant while the researches on docudrama from the aspect of dramatic technique are scarce. According to these, this paper can correctly grasp the research object and use the research theory. The second part to the sixth part is the main body of the article. The second part makes a systematic review of the docudrama and focus on the definition of docudrama. It also generalizes the general characteristics such as pursuing authenticity, using dramatic skills to enrich real stories, historical time and space and space-time interweaving. What’s more, it summarizes abroad and domestic development situation of docudrama. The docudrama in foreign countries has developed rapidly and occupied the absolute dominant position of film and television works. While the development of docudrama, which is mainly divided into two types, is still in the exploratory state due to the late emergence time and few representations. The third part explains that the domestic docudrama usually present dramatic action by using the interpretation and performance, combining realistic and virtual, staggering sound and space, perforating repetition and changes and so on. Moreover, the domestic docudrama also presents the action to see into the characterizations and inner world of characters I order to cause the audience’s attention to the fate of the characters. The forth part makes a summary of the characteristics of drama conflict in the docudrama, which includes objectively established conflict, objective assumed conflict and subjective assumed conflict. In the aspect of setting specific conflict, it will be based on particular cases such as the conflict between people and the environment, conflict between two persons and the inner conflict of characters. According to Tan Peisheng’s theory of drama scenarios and docudrama’s unique art form, the fifth part analysis the setting of drama scenarios of docudrama from three perspectives, which are the principle of big historical events have to be real, small details can be artistic creation, the function of enlarging historical moment and the relationship of simplified historical figures. According to Tan Peisheng’s theory of drama scenarios and docudrama’s unique art form, the fifth part analysis the setting of drama scenarios of docudrama from three perspectives, which are the principle of big historical events have to be real, small details can be artistic creation, the function of enlarging historical moment and the relationship of simplified historical figures. The sixth part tries to analyze the feathers about drama suspense designing of docudrama. Docudrama always fulfills the movie with lots of suspense by reconstructing story time, using attractive commentary and instead satirizes.In the exploratory stage, there still are many problems for docudrama in the pursuit of dramatization such as neglecting the authenticity, focus too much on accident events, concentrating on the dramatic result instead of the process and designing meaningless action for characters and so on. Therefore, this paper aims to combine the drama theory of Professor Tan Pesheng, analyze the drama of docudrama, discuss the rational use of dramatic elements, and expect the creators of docudrama can produce better works which are based on reasonable aesthetic standard and related theory to make greater contribution for docudrama to adjust to market and appear on the international stage.