Why do you say that Cao Yu's success marks the maturity of China's modern drama?

Cao Yu's thunderstorm has reached a high artistic level, which is the first peak of China's drama and the founder of China's drama, marking the maturity of China's modern drama.

Cao Yu's rapid rise is mainly due to his view and expression of people's survival dilemma from the height of human beings. He tells people's unfortunate experiences with a kind of spiritual language shared by human beings and looks at people's pain with a kind of profound compassion. His foothold, his compassion, so that different times, different classes, different nationalities can deeply understand and produce a strong * * * sound.

Modern drama, as a transplanted art variety, started not too late in the new literature, and has been promoting the development of drama through the active efforts of the four founders, Hu Shi, Tian Han, Hong Shen and Ou Yangyuqian. The development of modern drama has never been highly recognized and has never really felt the real charm of drama. With the appearance of Cao, Thunderstorm and Sunrise, the readers and audiences in China were truly shocked and fascinated by the drama, and the modern drama in China really matured, strictly speaking, only after the advent of Cao Yu's plays. The two works established Cao's position in the history of literature in one fell swoop. Cao Yu's drama creation has formed its own unique style from artistic structure, characters and language forms, which shows the value of China's modern drama. Is the most China, but also the least China, he knows the performance method of China's traditional drama, and he shows the typical traditional Chinese plot of China, which is the most China. Because he knows drama is a foreign kind of drama, he has its own characteristics to understand, focusing on language and expressing the plot with dialogue of characters, which is the least China. Cao was the first person to introduce China's plays into China's plays both theoretically and practically. Fully display the power of tragedy, and achieve China's drama in both stage and theory. His appearance is the peak, and his existence exists for drama. Structurally, life is dramatic and conflicted, and he is good at using accidents and coincidences to construct fierce dramatic conflicts. In the accident, he implies necessity, and in the coincidence, he tries to grasp the fate and the uncertainty of fate.