Chinese Classic Drama Scripts

Thunderstorm: The First Play of Chinese Drama in a Hundred YearsA monument in the history of Chinese drama, which made the 24-year-old Cao Yu an astonishing figure and brought Chinese drama to maturity. In the past hundred years of Chinese drama, if only one play is chosen as a representative, it is not "Thunderstorm". It is the first readable and performable drama in China, and its birth broke the situation that China could only perform foreign dramas; it is the masterpiece with the most performances and the largest number of performing groups in the history of Chinese drama, and it is the myth and miracle of the hundred years' history of Chinese drama; the history of decades of performances of "Thunderstorm" is at the same time a history of the art of directing Chinese dramas and the history of their acceptance by the society, and it is also the history of the development of Chinese drama performances. All these make "Thunderstorm" become the first play of Chinese drama in the past hundred years, which is well deserved. The Teahouse: "The Miracle on the Oriental Stage" is the most famous reserved play on the contemporary Chinese drama stage, and the most successful work in Lao She's later period of creation, which is regarded as "The Miracle on the Oriental Stage" by foreign experts. When the later generations of drama constantly look back at this classic with a gesture of admiration, they find that, excluding the complicated plots, eliminating the peculiar position judgment of the times, what wanders around in Lao She's writing is actually a "capitalization" type of classical oriental aesthetics that is ready to be launched. 1980 September, "The Teahouse" was invited to perform in the three countries of former West Germany, France and Switzerland. In September 1980, "Teahouse" was invited to perform in the former West Germany, France and Switzerland. By May 27, 2004, "Teahouse" public performance of 500 ...... a three-act drama, the world, the sadness and joy of the little people, condensed the vicissitudes of China's half-century, leaving a huge cultural backdrop for future generations. Qu Yuan: A Masterpiece of Historical Drama Qu Yuan is not only the most brilliant masterpiece of revolutionary historical drama in the 1940s, but also a rare artistic treasure in the history of modern literature. This five-act historical drama, which was written in ten days, can be regarded as the most accomplished and influential masterpiece of Guo Moruo's historical dramas, showing Guo's revolutionary romanticism style to the fullest extent. In Japan, the Soviet Union, Romania, the Czech Republic and other countries staged "Qu Yuan" **** up to more than 600 shows, the highest record of Chinese drama staged in foreign countries. Oppression: A Model of Modernist DramaThe one-act play Oppression, written in the winter of 1925, was regarded by Hong Shen as "the only masterpiece of comedy written during that period". The play creates exemplary character language and the most praiseworthy structure of the play, which is rare and precious among most of the rough and low-quality works of the same period. Tinklin's "comedies of the world" did not get the credit they deserved at the time he lived in, and Oppression is no exception. As a matter of fact, Ding's comedy, as represented by Oppression, is the earliest example of China's successful attempts at modernist drama, with a certain degree of "ahead of its time", and a unique presence in the entire history of Chinese drama. Under the Roof of Shanghai: A Vector of Anti-Japanese War Drama ? Under the Roof of Shanghai, written on the eve of the Anti-Japanese War, exposes the dark reality of the Kuomintang's rule through the misery of a group of minor characters living in Shanghai's alleys, as well as their joys, sorrows and happiness, and hints at the prospect of an impending thunderstorm in order to make the audience "hear the footsteps of the times to come! ". Author Xia Yan said it was a tragicomedy. Under the Roof of Shanghai" was lost because of the "August 13" war between China and Japan in Shanghai until January 1939, when it was premiered in Chongqing by the Roar Theater Company. However, the production of this play was the ?nding of Chinese antiwar drama, and established Xia Yan's important position in the history of Chinese drama. The White-haired Girl: "Socialist Realism" An important symbol of the Yan'an period's theatrical achievements is the excellent multi-act play The White-haired Girl, written by He Jingzhi and Ding Yi and produced collectively by the Luxun Academy of Fine Arts in 1945. Although it was a new opera, its stage style was similar to that of a drama, and it was the product of a skillful combination of drama and ballad, which successfully expressed the theme of "the old society turns people into ghosts, and the new society turns ghosts into people". Its appearance and successful promotion provided a model for the "socialist realism" mode of drama creation after the founding of the PRC. In the Silence": the genesis of new-period drama On November 16, 1978, the four-act drama "In the Silence" written by Zong Fuxian, a Shanghai worker, was performed with great enthusiasm. 20 years later, looking back on the performance of "In the Silence" and the publication of the script, as well as its wide dissemination throughout the country, millions of people read and watched it through newspapers, television and theaters, and the artistic value is not the only criterion to measure it, but the important thing is that it is not the only one, but the most important one. Artistic value is no longer the only criterion for measuring it. What is important is that it liberated contemporary literature from the 10-year-long literary confinement of the Cultural Revolution, revitalized the dying drama, and was once at the forefront of various art forms. ABSOLUTE SIGNAL: Pioneer of the Small Theater Movement In November 1982, ABSOLUTE SIGNAL, directed by Lin Zhaohua, premiered in the small theater of the Beijing Renmin University, opening the first small theater movement of the new era. This successful experimental performance became a pioneer of China's own drama during the transition period, and sparked an interest in the exploration of small theater in the theater world. The play breaks the fixed way of communication between the audience and the actors in traditional theater; it also disrupts the traditional "present tense" time structure of "chronological order" in traditional drama. Crush on Peach Blossom Garden: An Asian Classic In 1986, the stage play Crush on Peach Blossom Garden established the status of Taiwanese dramatist Lai Shengchuan (blog) and his workshop in the theater world. Since then, the four times of re-staging the play has become a well-known classic in Asia, and the set of editors and directors in one Lai Shengchuan, the play is also famous at home and abroad, known as "the indispensable heavyweight of the Chinese drama world". Love in a Fallen City": 61 years to continue writing the two legends selected "Top Ten" of the "Love in a Fallen City", refers to the 61 years between the two different versions of time and space. Eileen Chang wrote her novel Love in a Fallen City in 1943, and the following year she personally adapted it into a four-act, eight-scene modern drama, which was presented by Dazhong Drama Art Company on December 16 at the Shanghai Xinguang Grand Theater. That version of the play was directed by Zhu Duanjun and featured a strong cast, with Roland as Bai Liusu, Comfort as Fan Liuyuan, Wei Wei as Mrs. Xu, Haitao as Princess of India, and Duanmulanxin as the Fourth Grandmother. ...... All were instantly recognizable stars. 61 years later, the Hong Kong Repertory Theatre presented Love in a New Castle, with director Mao Chunhui extending the original's abrupt ending to place Bai Liusu in the post-Reform and Opening Up era, and placing the character of Bai Liusu in the post-Reform and Opening Up era. White tassels placed in the reform and opening up on