The Reason For The "change" And "unchanged" In Lao She's Drama Creation

Lao She's road of drama creation began with the War of Resistance against Japan.From the period of the War of Resistance against Japan to the founding of New China,drama became the main literary genre of Lao She's creation and made important artistic achievements.But from the point of view of the present research situation,There are still some deficiencies in the study of Lao She's drama in academic circles.Even if we do not mention the serious imbalance of the proportion compared with the study of his novels,the study of drama itself is still not enough,which is mainly shown in the following aspeces:The academic research on Lao She's drama mainly focuses on the Teahouse,but lacks due attention to other plays.At the same time,many scholars regard the drama works of Lao She during the Anti-Japanese War as immature experimental works.It is believed that Lao She's artistic achievements in drama creation after the founding of the people's Republic of China were much higher than those before the founding of the people's Republic of China,which led to another deficiency in the study of Lao She's drama,that is,the study of "split style".That is to say,it only studies the drama creation after the founding of Lao She or the drama creation during the Anti-Japanese War,and the research results of the former far exceed the latter.It is particularly necessary to grasp Lao She's drama creation as a whole.This paper attempts to consider Lao She's drama creation as a whole,including the drama creation during the period of Anti-Japanese War and the drama creationa after the founding of New China,and then discusses the compromise and concession in the course of satisfying the trend and needs of the times.And to explore the unperceived or fully discovered writers' subjectivity,and as a starting point to explore the underlying reasons,so as to restore a dilemma between the call of the times and the adherence of the subject.True dramatist Lao She.This paper is divided into three chapters :Chapter 1: the compromise and concession of Lao She's drama creation.LaoShe's drama creation has the obvious change under the time summons and the demand,the previous research may be limited in a certain period but lacks the integrity inspection.Or simply to the level of drama creation line combing,the overall direction of Lao She's drama creation failed to make a comprehensive and specific study.This chapter aims to make up for this deficiency,from the writer's self-identity positioning.This paper discusses the shift of creation focus and the selection of subjects,and discusses that Lao She's drama creation has compromises and a tendency of returning to the times under the background of the great times..The first section explore the change of Lao She drama creationg.The innovation of this section lies in the continuation of the division of drama creation into the anti-war period and the two periods after the founding of the new China.The former serves as the center of service-resistance and the latter is the focus of songs.On the other hand,the drama "Longxugou" is taken as the demarcation point.After the founding of new China Lao She was further refined into "praise of reason" and "ecstatic Goethe" and two stages.After the founding of the people's Republic of Lao She,the author discusses the shift of creation focus from "things with people" to "things without people",in order to discuss after the completion of a play "Longxugou".The portrayal of characters in Lao She's plays gradually lost the soil of reality and the inside details of life,and moved towards symbolization.However,it should be pointed out that this is not a straight decline process,in which there have been two peaks and turns of "accident".And this is the content of the third section.The third section discusses the two turns that appeared in Lao She's dramatic creation with the hot present reality as a whole-the retrospect of historical themes.It is an opportune coincidence that the climate is appropriate..Lao She is also in the reflection of the natural reveal,the achievement of Lao She drama on the road to different scenery.Chapter 2:the subject adherence of Lao She's drama creation.The trend change of Lao She in the advance or turn of the times is obvious,but this does not mean that Lao She is completely compromised because of his obedience to the War of Resistance against Japan and praise,on the contrary.The spirit of the main body of the writer can be followed in his drama creation,but there is little research on it in theacademic circles,and most of them remain in the satirical and critical consciousness embodied in such plays as Teahouse,which is not comprehensive.This chapter is to take this as a starting point,writing from the bottom,national criticism and enlightenment.Three aspects of the simple morality of Lao She's drama in the creation of the thought and spirit to further explore and explore.The first section mainly around the bottom writing of Lao She drama.The purpose of this paper is to discuss the consistent continuation and uniqueness of Lao She's bottom consciousness in his drama creation,that is,to take the situation of the bottom man as the main object of the play.In order to track the changes in the life of the poor in different social backgrounds,Lao She reflects Lao She's steadfastness on the bottom of the civilian population.The second section discusses the continuation of the national criticism and enlightenment consciousness embodied by Lao She in his drama works.In order to correct Lao She's view that "from the Enlightenment to the pander" since the beginning of the War of Resistance against Japan,the purpose of this paper is to discuss the spirit and position that Lao She did not give up the critique of national character in the great era of salvation and eulogy.It is to carry on the reflective inheritance to the enlightenment in the new era and the environment.The third section discusses Lao She's consistent stand of simple moral criticism and revolves around the "money standard".The simple angle of view of moral criticism,which has been shown in Lao She's novels such as "official Standard",aims to expound the continuation of Lao She's drama,the depth of criticism and the connotation of satire in the new era.The fourth section begins with the collectivized creative mode of Lao She's Democratic Screenplay,and probes into the subject adherence which is often ignored or hidden behind the "revise" and "resistance" of Lao She's drama creationg.Chapter 3:the causes of "compromise" and "adherence" in Lao She's Drama creation.From the perspective of history and culture,this paper probes into the complicated reasons for Lao She's contradiction and dilemma between chronological choice and subjectivity.The first section focuses on the historical transformation of "literary field" and discusses the inevitable influence of the nature of "ecological environment" on Lao She's drama creation during the period of Anti-Japanese Warand after the founding of New China.The second section begins with "gratitude complex".A supplementary study of the sense of gratitude revealed by Lao She after the founding of the people's Republic of China.The third section discusses the confusion and confusion between "new" and "old" in Lao She's drama creation.And from this,we further investigate the influence of the strong traditional consciousness implied in Lao She's ideology on his creation.The fourth section revolves around the strong "scholar" consciousness embodied in Lao She.The purpose of this paper is to expound that a series of changes in Lao She's creation after the founding of the people's Republic of China are closely related to the influence of the traditional concept of literati and bureaucrats,and thus lead to the thinking of the dilemma that Chinese modern intellectuals cannot extricate themselves from in spirit.