Traditional Drama

Traditional drama, in general, can be summarized as follows: the realism of Ibsen's "social problem plays" and the performance mode of Stanislavski's system are revered, and since the introduction of the West, it has been linked to politics, and the guiding principle is that the theme is to serve politics.

Since the beginning of the 20th century, especially after the May Fourth New Culture Movement, Ibsen's social problem plays have had a profound impact on Chinese drama, which historically has never been closed or exclusive, but has had a measure of openness. The "Two Western Waves" of the 1920s and 1980s are prominent periods. For example, Cao Yu's creation in the 1930s was y influenced by the new thinking in the 1920s, which clearly embodied the openness of Chinese drama. He took realism as the main body and organically integrated a variety of other aesthetic factors to achieve a deep combination, leaving behind a monumental play called "poetic realism".

Beginning in the 1980s, the new era of Chinese drama synchronized with literature, strengthened the study of "anthropology", and promoted the exploration and innovation of the art of drama, and after a long period of closure of the aesthetics of drama, after the ideological confinement of the left, the aesthetics of drama once again opened itself to the world. After a long period of confinement, the aesthetics of drama, after a long period of confinement, once again opened its bosom, and the Western modernist drama trend and genre were introduced again. Such as absurdist theater, existentialist theater, poverty theater, and Brecht's theory of theater were paid attention to, absorbing all the valuable results, and insisting on "using me as my master, for my own use". This kind of borrowing, digestion and integration is the result of reform and opening up.

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