Traditional western drama

Literature and art and audience, the other loves each other and kills each other.

Nie yubing

Regarding the difference between China's drama and Western drama, Mr. Qian Mu has a point: Western drama strives for truth and restores life 100%. The requirement of China's plays is that life is always separated by a layer. Through various artistic ways, tell everyone that this is acting, not life.

Therefore, in the west, drama is like life, while in China, life is like drama.

(3) From this association, there are also such differences between Chinese and Western novels. Western novels spare no effort to pursue the truth in detail and logic, and strive to restore life and further concise the order and truth in life. Even the so-called western magic theme is just packaged in a magical shell, reflecting real life. China's novels are still "separated from life by a layer".

Mr. Qian Mu also discussed the reasons for this phenomenon. He believes that in the West, religion is people's loving mother, while Zhang Yi's works are people's strict father. In China, it is ethics that regulate people's daily behavior. These ethical codes are more like strict father, and literary works assume the role of loving mothers. This is a very apt and easy-to-understand metaphor.

In life, people have different expectations for their fathers and mothers. Especially according to the traditional habits of China people, strict father's loving mother and father always keep a straight face, which makes children daunting. Mothers love, spoil and indulge their children more.

6. Look back at the popular sketches, film and television dramas, especially those popular on the Internet. Most of them have one thing in common: sweet, shallow and meaningless after reading. Even if it reflects real life and war, the plots and details are mostly absurd and can't stand scrutiny, just for the fun of the audience. In fact, the contents of these books and plays are an imaginary indulgence of the audience's daily bound thoughts and behaviors. '

It is a habit to treat literary and artistic works as mothers. When people appreciate art, what they need is a mother who indulges and dotes on us blindly, a mother who doesn't preach constantly, and even less a daunting father. Therefore, once novels and plays contain more didactic meanings, they are immediately rejected by readers and audiences. Even if "mom" really wants to say something, it must be in a casual attitude and an absurd way.

Today, with the internet, every "child" has the opportunity and power to talk to his mother on an equal footing, so he is no longer satisfied with unconditionally accepting his mother's spoil, just like in infancy: he gets what his mother gives him. So I began to ask my mother: I not only want to spoil, but also want you to spoil us in the way we want, otherwise, I won't love you. Of course a mother will spoil her children, but she doesn't want to spoil them indefinitely. But every child's need for spoil is endless. Similarly, the same is true between the audience and the current popular literature and art. In this way, the "mother" and the "child" have to sit at the negotiating table again and again, launching a tug-of-war after another, vying for the right to decide the "spoil scale".

It is estimated that every woman who has become a mother has had a wish, "I want to be not only a loving mother, but also a qualified good mother." But we all know that this requirement seems simple, but it is actually very difficult. Now all kinds of articles and dramas on the internet are probably like this. These countries are still trying to wage and complete their own wars. The purpose of the war is: I will love you in my way, and I will not lose your love for me.