The present situation of drama

China's classical opera is an important part of China's national culture, and it is also called the world's three major ancient operas, along with ancient Greek tragicomedy and Indian Brahma. Mei School, Mei Lanfang's Peking Opera System, Brecht's Berlin Theatre and stanislavski's Moscow Grand Theatre are the quintessence of China culture, and they are called the three major drama systems in the world. Kunqu Opera, another kind of drama, is one of the world's cultural heritages. History and experience can fully explain the influence and irreplaceable position of China's drama in the world, and we can draw the conclusion that drama should be brilliant and prosperous in China society. In fact, since 1980s, drama has suffered a "trough" in China. The annual "Plum Blossom Award", the biennial "Wenhua Award", the China Drama Festival and the international drama exhibition are dizzying, but the real crisis is hidden behind the glitz, that is, the number of audience groups has dropped sharply. In their minds, China's traditional drama is out of date, unable to keep up with the trend of the times, and there is nothing new to speak of.

Due to objective reasons, the door of the country is gradually opening to the world. While the economic construction is taking off rapidly, it is also impacted by many foreign cultures. Blockbusters, American dramas, Japanese dramas and Korean dramas are all in front of our eyes. In contrast, China's traditional dramas have higher requirements for actors and scripts have higher requirements for literariness and artistry. From an economic point of view, although the initial investment of a drama can not exceed that of ordinary movies, the input-output ratio is far behind. Another point is that the theater drama depends on the theater, and it is precisely because it is performed in such a relatively narrow space that the audience coverage cannot be compared with the above two art forms.

subjective factor

Most of the dramatists were trained in the "catastrophe" of ten years, when there were only eight plays in China, and the diversity of traditional dramas in China was seriously damaged. It is not the best to learn the plays learned by actors naturally, neither in quantity nor in quality. Most drama actors belong to a theater, that is, a unit. Large-scale production and big scenes become the necessary conditions for winning the prize. Local theaters would rather not perform locally than go to Beijing to participate in the competition. Plum Blossom Award, Wenhua Award and Golden Lion Award have become their only goals, which are obviously divorced from the significance of the drama and the original intention of the playwright. One more thing, the operation of the theater depends on state funding.