The National Practice Of Guo Moruo’s Drama Creation

The development of modern Chinese drama, in fact, is a process of the Western drama after being introduced into China to take root, sprout, constantly nationalization. As a famous modern playwright, Guo Moruo’s drama creation also has distinctive features of Nationalization. However, view on the current study on Guo Moruo theatrical, there are few researchers turned it into a discussion of macro system. To compensate for this deficiency, the paper will be on the view of drama nationalization to analyze historical drama represented by Guo Moruo’s drama creation, read the text in detail, combined with ideological and theoretical development of Guo Moruo, try to make a comprehensive interpretation.Introduction will focuses on the meaning and development of the "nationalization". The so-called nationalization, can be understood from three aspects: the aesthetic taste and appreciation of the level of requirements to be cast in ethnic style on the basis of learning from the West; On the performance of the content level, focuses on real life and spirit of the times; from spiritual core level point of view, mainly reflects the modern consciousness. As for the nationalization course of development, it is a process from "broken" to "up" in general. It can be divided into three stages. From the May Fourth Movement to late twenties, it is the initial exploration stage drama and nationalization. New Culture Movement originator clearing the way for the development of drama on the road. In 1926, the "National Drama Movement" rised, the initiator advocated both traditional Chinese and Western theories are fused to create a modern theater with Chinese national characteristics. In the late 1930s, "drama nationalization" has been put on the agenda, Chinese drama to start toward the direction of national characteristics gradually developed mature.The first chapter analyzes Guo Moruo’s source of ideas and its influence on Creation. His creations can be broadly divided into the following three periods. May Fourth Movement, Guo Moruo absorbed a large number of Chinese and Western philosophy, formed a "pantheistic" view of the world, resulting in the art view of literary self-centered, with the basic characteristic of subjectivity and lyricism; In the period of war, Guo Moruo accepted Marxism and started to the revolutionary concept of Literature and Art Oriented. Until 1930s to 1940s, in the background of anti-Japanese war, drama’s political features are greatly enhanced; Historical drama after PRC founded, under the leadership of the Communist Party, fully service for socialist construction, has a clear political purpose, and distinct times and reality.The second chapter discusses the relationship Guo Moruo’s drama with the national spirit and the spirit of the times. One of the main purpose of Guo Moruo created the history of drama, is transformed the spiritual history into the spirit of the times. He does not emphasize according to historical research methods to restore the original appearance of history, but also to develop "spiritual history", which was interpreted as a close fit with the reality of the spirit of the times. In Section 2 mainly discusses the relationship between Guo Moruo’s characters with the national character and spirit of the times. These people generally have the traditional character of the nation, but also into the Times and author of ideals and hoping. Section three, focuses on Guo Moruo’s drama in reshaping the national spirit, including patriotism, and justice. Combined requirements of the times, elucidate a new national spirit.The third chapter explain Guo Moruo’s nationality transformation of Western modernism and the promotion of traditional aesthetic spirit. On the one hand, he transplanted Western Romantic spirit, dig people’s self-consciousness, lifted the spirit of rebellion, and integrated the creation into distinctive features of nationalization. On the other hand, he inherited and carry forward the traditional aesthetics, emotions take on a poetic lyrical manner, on the dramatic structure draws traditional forms of drama, and strengthen the expressive of drama.