Characterization And Performance Exploration In The Original Drama What Year Is It

Facing the trend of multi-cultural blending development,Chinese drama is also moving forward towards the momentum of diversified and multi-level rapid development,and is now gathered in major cities,with increasingly rich themes and forms of expression.However,driven by the market economy,the classic works are constantly repeated.Although audiences show respect for the classic works,they are also eager to call for the emergence of new ones.In view of this,in accordance with the author's own specialty,she takes the original drama What Year Is It,which was written,directed and performed by herself,as the main research object,and her creative thoughts and creative skills as the main direction,and combing of the important concepts and performance skills of characterization and stage representation used in the process of first and second creation and borrowed from the fields of Performance Studies and Directing Studies as the main content,this paper tries to show a clear outline of creation by summing up and analyzing the three aspects of performance skills,directing techniques and view on drama.By doing so,the author expects to proffer inspiration for researchers in related fields.Based on the important aspect of the Stanislavski experimentalism of “I am” and the general content of Brecht theory of “the actor is above the role”,as well as the dialectical unity between actors and roles in Chinese drama,and the theory of sense and sensibility as an integral whole,which has been borrowed and used in stages under a guiding principle,the first chapter demonstrates the significance of the drama in the comprehensive concept of performance.In the second chapter,the author combs the directing technique of What Year Is It,that is to say,the important basis of the role-building is expounded by the mutual effect and influence of internal and external factors.In addition,the importance of establishing equal and effective communication between actors and audience is emphasized from the perspective of relationship between audience and performance.Finally,from the drama stage,the film's lens expression is taken as the main direction method to expound its important role in the presentation of the relationship between time and space of the drama and the externalization of characters' spirit.The third chapter combines the diversified views on drama and stage presentation to express the exploration of “nationalization” of the theme of this drama.In addition,in the aspect of drama aesthetics,dominated by realism,this paper demonstrates the possibility and necessity of the integration of “realism” and “suppositionality”,“expression” and “representation”.