Understanding and prospect of drama department

Three stages of China s drama development and its representative works;

1907: Born

Representative: Li Shutong (Master Hongyi)

Masterpiece: The Record of Black Slaves Calling Heaven.

1907, Li Shutong (master hony hung) set up the "Spring Willow Club" in Tokyo, Japan, which aims at studying all kinds of literature and art. 1907, in the spring, members of Liu Chunshe participated in the fund-raising and entertainment activities organized by the YMCA of China in Tokyo, Japan for the flood of Xuhuai, Japan, and tried to perform the third act of La Traviata by the famous French writer Dumas, and won the prize in Tokyo. In particular, japanese theatre critic Songju Songweng, who is a cross-dressing La Traviata, later said in the article "Doubts about China's Drama" published in Zhiju magazine: "This troupe is not as good as Li Jun's performance ... Li Jun's beauty is by no means comparable to that of his own actors."

After watching Li Shutong's play La Traviata, Ou Yangyuqian was surprised to find that "there is such an expression in the play". After returning to China, Ou Yangyuqian took an active part in drama club activities, directed and performed dozens of plays, and became one of the founders and pioneers of China drama movement.

Soon after, the Spring Willow Society staged a drama "Black Slaves Call the Sky" based on the American novel "Uncle Tom's Cabin". In the performance, they used the method of split-act performance for the first time, and explained the characteristics of the story with dialogue and action, making the roles created by the actors more plump, three-dimensional and real. This performance, which shows the rebellious spirit of the oppressed, has once again aroused great repercussions in the Tokyo drama circle. It has also been praised by Japanese dramatists, Hayashi Haruki and Ihara Qingyuan, who believe that this performance by China youth symbolizes the infinite future of the Chinese nation.

And the success of "The Record of a Black Slave Calling Heaven" established an unprecedented new drama form in China. The layout design, costumes, makeup, knife work, lighting and other aspects of Japanese "new school drama" originated from western drama have been studied and practiced boldly, which has a great influence on the future development of China's drama in terms of dance beauty. At the same time, it also marks the birth of China's drama in the true sense.

1930s: Rise

Active figures: Cao Yu, Xia Yan, Tian Han, Ou Yangyuqian, etc.

Representative repertoires: Carmen, Night is Young, Blood Debt, Begonia, and Prosperous Mountains and Rivers.

In 1930s, the history of China was full of hardships. During this period, China's plays turned to realism, swept away the romantic and sentimental tone, turned to grief and protest, actively aroused the people and saved the country, and began to mature. Its main features are: closely combining drama with the needs of China society and people, rooted in national culture, creatively transforming this foreign art form into the traditional artistic spirit of China while drawing lessons from western drama, making it a drama variety that China needs and China people love to see; A number of outstanding playwrights and dramas have emerged, such as Cao Yu and Xia Yan. At the same time, professional troupes began to appear, and the performing arts were accepted and reached the world level.

In 1930s, proletarian drama rose in China, and the combination of drama and reality became closer. 1930, Tian Han adapted the French novel Carmen into a drama of the same name, trying to "use foreign stories to exert revolutionary feelings and influence China society". Later, Ou Yangyuqian put a drama of the former Soviet Union on the stage to protest against the crime of murder committed by imperialism in China. 1930 At the end of the year, the China Left-wing Dramatists' Union (hereinafter referred to as Dramatists' Union) was established in Shanghai, uniting major drama institutions and progressives in the drama industry to launch a massive left-wing drama movement.

During the period of 1936, the voice of resisting Japan and saving the nation in China's drama circle was growing. Dramatists use drama as a weapon to carry out the drama movement of resisting Japan and saving the country. Tian Han, Hong Shen, Chen, Yu Ling, etc. In the unprecedented great national salvation movement, he shared the same enemy and performed well-"National Defense Drama" played a role in awakening people, boosting morale and uniting against the enemy.

At that time, "Red Drama" was also produced, which was a mass drama activity in a specific historical era. 1932, Jiangxi Ruijin established the Workers and Peasants Drama Club and Gorky Drama School. Drama performances are held during holidays every year, and they often tour the countryside. After the Long March of the Red Army, the seeds of "Red Drama" were sown in the new revolutionary base areas.

At the beginning of the war of liberation, China * * * Production Party sent a large number of literary and art workers to the northeast, and established literary and art troupes in some areas. Everywhere they go, they perform cultural programs and do mass work. The night is still early, blood debt, begonia, vigorous mountains and rivers and other plays had a strong response among the people at that time.

New China Drama: Maturity

Active figures: Lao She, Tian Han, Guo Moruo, Jiao Juyin, etc.

Representative dramas: Growing up in battle, Qianshan, Liu Lianying, Longxugou, Guan Hanqing, sentry under neon lights.

* * * China's plays in the early days of the founding of the People's Republic of China mainly eulogized the victory of the revolution, including Growing Up in the Battle, Qianshan and Defending Peace. Secondly, singing the theme of the new China, such as Liu Lianying, Longxugou and Spring Breeze Blowing over the Nuo Min River. At the end of 1949, Lao She came back from the United States and wrote Longxugou, which can be regarded as a masterpiece of this period, and then a number of masterpieces marked the development of new China drama appeared. First of all, there are a number of "fourth plays", such as Lao She's Teahouse and Tian Han's Guan Hanqing.

Teahouse, published by 1957, is not only the peak of Lao She's drama creation, but also a landmark masterpiece of new China's drama creation. Three historical periods were written in the play, spanning 50 years, and 70 characters were vividly written. General director Jiao Juyin (1905 ~ 1975) also made outstanding contributions to the success of the play.

1958, Tian Han's Guan Hanqing came out, which is also a symbol of the development of historical drama creation. Guan Hanqing is the highest achievement of Tian Han's drama creation and one of the best plays since the founding of New China.

In the early 1960s, in a relatively relaxed creative environment, drama creation reached another climax. A number of influential plays have appeared, such as Second Spring, Sentinel under Neon Lights, Young Generation, Never Forget, Riptide, South China Sea Great Wall and so on. Although they put too much emphasis on ideal education and shaping heroes, they are mature in art and vividly portrayed.

This answer was recommended by Zhang Qi, an expert in cultural and artistic classification.

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zhxr63？

2007-07-0 1

Generally speaking, China's drama has experienced the following five stages of development.

(A) the new drama period

1906, inspired by Japanese "new school" drama, students studying in Japan Zeng Xiaogu and Li Shutong organized the Spring Willow Society. 1907 performed La Traviata and Black Slave Xu Tian Lu in Tokyo, Japan. In the same year, Wang Zhongsheng and others organized "Chunyang Society" to perform "Black Slave Record" in Shanghai, which was "the opening of China's drama". This kind of stage play with dialogue as the main means is called new drama, and later it is called civilized drama. In the following 10 years, a number of new operas such as New Art Theatre, Evolution Theatre, Nankai New Theatre and New Drama Club appeared in Shanghai, Beijing, Tianjin, Nanjing, Wuhan and other places, and performances such as Hot Blood and Long Live the Social Clock were warmly welcomed by the public. After the failure of the Revolution of 1911, the new drama gradually declined. The representative figure of this period is Ou Yangyuqian.

(B) Love the American drama period

19 19 Hu Shi, Chen Duxiu and Fu Sinian, important figures in the May 4th New Culture Movement, paid special attention to the power of new dramas to stimulate people's consciousness and praised Ibsen's social dramas. 19 19 Hu Shi's one-act play "Lifelong Event" is the representative of their proposition. At the same time, Chen Dabei, Ou Yangyuqian and others loudly put forward the slogan of "love American drama", a non-professional drama, and successively set up people's drama club, heart drama club, South China drama club and other drama groups. A number of outstanding plays such as Tiger Catching Night, Death of Famous Brand (Tian Han), Three Rebellious Women (Guo Moruo), Patriotism (Xiong Foxi), Bitch (Ou Yangyuqian) and A Bumblebee (Ding Xilin) were born, which laid an important literary foundation for China's plays. From 65438 to 0922, Hong Shen, who studied in the United States and specialized in drama, returned to China to join the Dramatists Association. In view of the bad habits of civilized drama, he boldly reformed the establishment of script, stage discipline and director system, advocated co-acting between men and women, and formed a complete drama art system. From 65438 to 0925, the drama department of Beijing Institute of Art was established, which provided a position for the cultivation of drama talents. The southern art movement led by Tian Han can best reflect the spirit of the emerging drama in the 1920s. From 1924 to 1930, many anti-imperialist and anti-feudal plays were staged successively, and a number of artistic backbones such as Chen Ningqiu, Chen, Zheng, cutie and Wu Zuoren were trained. 1929 ~ 193 1 year, Ou Yangyuqian presided over Guangdong Theatre Research Institute, published Drama magazine and organized dozens of plays such as Roar, China. Ou Yangyuqian, Hong Shen and Tian Han are considered as the founders of China's plays. 1928, Hong Shen creatively translated English drama into "drama" to distinguish it from the stale "new drama", hence the name of China drama.

(C) Left-wing drama period

Under the leadership of the * * * production party in China, 1929 established the Shanghai Art Drama Club and put forward the slogan of "proletarian drama". 193 1 1 year, the China left-wing dramatists' union was established, and since then, China's drama has entered the development stage dominated by the left-wing drama movement. The Left-wing Drama Troupe, headquartered in Shanghai, led the sub-groups in Beiping (now Beijing), Nanjing, Guangzhou and Hangzhou, established more than 50 left-wing drama troupes, and performed a large number of progressive dramas, such as Bloody Clothes, The Ring of Bells, China, Sweet Rice, Song of Rejuvenation, etc., and many others emerged. 1935, Shanghai Amateur Dramatists Association was established to perform Nora, Imperial Envoy, Thunderstorm, Wu Zetian and Taiping Heavenly Kingdom. In the 1940 s, the drama club performed large-scale plays such as "Sai Jinhua", which greatly improved the stage art level. From 1934 to 1937, Cao Yu's famous plays Thunderstorm, Sunrise and Yuan Ye came out. 1933, the first commercial troupe in China, China Travel Service Troupe, was born and persisted for 14 years. From 1932 to 1937, the experiment of farmers' drama in Dingxian County, Hebei Province was a dramatic attempt. "Red Drama" is very active in revolutionary base areas such as Jiangxi, Hubei, Hunan, Guangdong and Fujian. Hundreds of plays, such as February 27th Massacre, August 1st Nanchang Uprising and Our Red Army, greatly encouraged the fighting morale of the soldiers and civilians in the base areas. 1935, the National Theatre Academy was established in Nanjing. In the following 14 years, more than 0/000 students were trained, and nearly 0/80 full-length dramas were performed, covering Jiangsu, Hunan, Hubei, Sichuan and other provinces, with a wide and far-reaching influence.

War of Resistance against Japanese Aggression and the War of Liberation.

After the outbreak of War of Resistance against Japanese Aggression, China's drama began a stage of great popularization, development and prosperity. 1937 After the July 7th Incident, dramatists staged Defending the Lugou Bridge in Shanghai on August 7th, and quickly formed a 13 national salvation drama team to publicize the war of resistance. 1937 12 3 1 All-China Theatre Anti-Japanese Association was established in Wuhan. In the summer of 1938, under the leadership of the Third Hall of the Political Department of the Military Commission of the National Government, progressive dramatists gathered in Wuhan formed 10 Anti-Japanese Drama Team, 4 Anti-Japanese Propaganda Team, and 1 Children's Drama Troupe, and went to various war zones, and combined with drama groups spontaneously organized by various places and drama performances in anti-Japanese base areas, propaganda performances spread all over the country, forming an unprecedented magnificent situation. 1938 10 the first drama festival staged "the story of the nation" written by Cao Yu and Song Zhi, which was a sensation and was a representative of the drama in this period. After 1939, the focus of drama movement began to shift to the city, and influential professional troupes such as China Viva Troupe, CLP Troupe and Central Youth Drama Club were established in Chongqing, with theatrical performances. A number of outstanding plays have been produced, such as One Year (Xia Yan), Country First (Lao She and Song Zhi), Night on the Beach (Yuling) and Fog in Chongqing (Song Zhi). 194 1 The China Dramatic Art Club and 1943' s China Dramatic Art Club have brought new features to commercial performances. From 194 1 to 1945, various troupes in Chongqing performed Qu Yuan (Guo Moruo), Beijingers (Cao Yu), Spring and Autumn of the Kingdom (Yang Hansheng), Fascist Fungi () and Drama Spring and Autumn (,Yu Ling, Song from February to April,/kloc-0. A large number of art groups and propaganda teams, such as the Drama Department of Lu Xun College of Art, Yan 'an Youth Art Theatre and Northwest Field Service Corps, were set up, and dramas such as Liu Duichang (acted the role) and Comrade, You are going the wrong way (Yao) were put forward. ) and Li Guorui (Du Feng) are active in the countryside and the army, highlighting the fighting tradition of China's drama. During the war of liberation, drama activities were at a low ebb. Before and after Tomb-Sweeping Day (Mao Dun), Sales Map (Chen) and Second Road (Tian Han) are important achievements in this period.

(5) People's Republic of China (PRC)

The Chinese Dramatists Association (later renamed Chinese Dramatists Association) was established in July 1949, and China drama began a new stage of development. The Party and the government attach great importance to the development of drama, and have successively established China Youth Art Theatre, Beijing People's Art Theatre, Central Academy of Drama, Shanghai Theatre Academy, China People's Liberation Army General Political Department Drama Troupe and Professional Drama Troupe in various provinces, autonomous regions and military regions. Excellent plays such as Longxugou, Teahouse (Laoshe), Cai Wenji (Guo Moruo), Guan Hanqing (Tian Han), Wanshui Qian Shan (Chen) and Malanhua (Ren Deyao) have emerged in large numbers. The Teahouse directed by Jiao Juyin embodies the nationalization pursuit of drama, while The Bold Mother and Her Children directed by Huang introduces Brecht's drama thoughts. In ethnic minority areas with weak cultural foundation, drama performances by Uighurs, Mongolians, Koreans and Tibetans have appeared since 1950s, which has expanded the field of drama art. With the discussion and implementation of the policy of "letting a hundred flowers blossom" in the literary and art circles, 1962 has seen outstanding plays such as Sentinel under Neon Lights (played by Shen Ximeng) and Young Generation (played by Chen Yun). During the Cultural Revolution, the artistic practice of China's plays was lacking, and the audience was isolated. After the Third Plenary Session of the 11th CPC Central Committee, China's drama entered a new period of development. He made extensive and in-depth explorations in breaking through the limitations of the old stage, innovating the concept of drama and enriching the artistic expression of drama. Attempts in drama creation, such as no-drama structure, idealized image-building, plot and vague theme jumping in time and space, use of masks, neutral costumes, geometric scenery props, laser lighting, breaking the fourth wall, shortening the distance from the audience, and all-round audience, have attracted the attention of drama theorists. A discussion on the innovation of drama concept and form has played a good role in the development of China's drama. In the new era, drama is also more open. Since 1986, Shakespeare Drama Festival and O 'Neill Drama Festival have been successfully held. Teahouse by Peking man has been performed in Europe, America, Japan and Hong Kong for many times, and King Oedipus by Central Academy of Drama has been a great success, which is a good start for China's drama to go global.