Study On Dramatization Change Of Western Dramas Based On The Western Drama Of The Historical Process Carding

The paper aims to disclose the experimental rule of drama by means of sorting out the history of western drama’s "dramatization," dissecting the experience of script adaptation,analyzing stage play design and discussing its meaning and value.The first chapter briefly describes the process of the "dramatization" of western drama.From the reformation of opera in late Qing dynasty to the New Culture Movement,opera was mainly attacked by culturati in terms of traditional culture and forced to reform,because of real political factors,widely-spread foreign literary drama theories and inferiority in national culture resulted from week national power and interwoven internal and external problems.Until the 1930 s and 1940 s,formal operas adapted from western dramas appeared in Shanghai plentifully.After 1980 s,the "dramatization" of western drama became valuable subject on the stage,and such change was passively accepted before,but was actively accepted later for better ingestion and improvement.At present,the subject has become prevalent.The second chapter probes into the characteristics of texts during "dramatization" of western drama in terms of script adaptation.First of all,as Chinese drama has more than three hundred genres with each one having its own peculiarity,the adapted script must be consistent with the peculiarity of the genre.Secondly,Chinese opera is poetic drama,so there is a big difference between Chinese drama and western opera in terms of their text,lyrics,spoken words,structure and content.As a result,special attention must be paid in the adaptation of scripts which should accord with essential laws of scripts.Thirdly,the difference of cultural environments and composers can lead to misinterpretation.Consequently,it’s not wise to regard the similarity and restoration degree with the original drama as sole standards to evaluate the adaptation,but instead,the unique self-value of the adaptation should be fully realized.The third chapter discusses the existing problems when dramatizing western dramas from the perspective of the stage.Chinese opera has a unique performance system,in which its stylization,virtualization and other distinctive features differ from actualization-oriented features in western drama.The key step to transform western dramas to the East and China is to follow unique aesthetic rules of operas on the stage.The product created during the exchange of two opera paradigms also serves as the way to improve operas.In addition,integrating western elements is indispensable in the process of adaptation,but such integration must be consistent with opera’s characteristics as well as timely and appropriate.At last,although almost 100 years has been passed in the development of western drama’s "dramatization," during which outstanding dramas have mushroomed,the pattern isstill being explored in the practical stage.As a new hybrid product integrating two drama paradigms,it will cause debates inevitably.However,as it is known that practice is the sole criterion for testing truth,this "new product" has achieved high in terms of stage representation,audience approval,box office revenues and other aspects.Practice has proven that the new mode of integrating modern and tradition is capable of obtaining huge success.Only if the perfect integrating point is found,can the "dramatization" of western dramas shine out gloriously through frequent exchanges and collisions.