| Ding Xilin is one of the pioneers of modern Chinese drama and is known as the "single hand of the one-act drama".Yuan Muzhi played the main character of Ding Xilin’s drama many times in the act of acting,and after Ding Xilin created a series of unique one-act plays.Both are involved in the construction of the humor tradition of modern Chinese drama.If Ding Xilin’s drama focuses on the humor of humor,then Yuan Muzhi’s drama focuses more on the criticalness of humor.At present,the academic circles mostly focus on examining their respective drama creations,and lack of comparative research and overall research on the humorous drama style of the two.This article attempts to discuss the aesthetic characteristics,style differences and historical value of the two humorous dramas from three aspects: drama space,drama conflict,and cultural implication.The main body of the thesis is divided into three chapters.The first chapter starts with the drama space,and takes the living room space,bedroom space and public space as the objects,and analyzes the humorous derivative of the two dramas.The second chapter starts with the conflict between dramas and analyzes the construction of humorous situations by the two dramas using techniques such as misunderstanding,dislocation,and detuning.The third chapter starts with the cultural connotation and explains the humorous aesthetics of the two dramas.Ding Xilin and Yuan Muzhi,as representatives of early literati screenwriters,were good at borrowing drama spaces coordinated with characters,using contradictions and conflicts to create humorous situations,constructing humorous aesthetics with unique cultural meanings,and thus participating in modern and contemporary Chinese drama.The humor tradition was first built.Li Jianwu’s character comedy,the cultural meaning of Yang Jiang’s drama and the humor tendency of Xu Xu’s drama language are the inheritance and development of both humorous drama styles.In contemporary drama creation,Li Bonan borrowed the narrative mode of Yuan Muzhi’s play in the writing of small figures.The interpenetration of the sad and happy aesthetics of Ding Xilin’s plays has brought rich reference to the creation of Lv Ban’s "completion of joy,sadness and joy". |
