Which are the top ten unmissable classic plays in China?

Thunderstorm: the first play of Chinese drama in a hundred years A monument in the history of Chinese drama, which made the 24-year-old Cao Yu an astonishing success and brought Chinese drama to maturity. In the past one hundred years of Chinese drama, if only one play is chosen as a representative, it is none other than 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 in the hundred-year history of Chinese drama; the decades of performance history of "Thunderstorm" is also 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: "A Miracle on the Oriental Stage" is the most prestigious and preserved play on the contemporary Chinese drama stage, and the most successful of Lao She's later works, which has been hailed by foreign experts as "a miracle on the Oriental stage". 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 era of the position of the judgment, wandering in the end of Lao She's pen is in fact a kind of "capitalization" style of the classic Oriental aesthetics of the momentum of the development of the September 1980, the "Teahouse" was invited to the three countries of the former West Germany, France and Switzerland, the first Chinese drama to go abroad! 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 Drama The 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 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 modernized drama, which is somehow "ahead of its time", and is a unique presence in the entire history of Chinese drama. Under the Roof of Shanghai: A Vector of Anti-Japanese War Drama ? Created on the eve of the Anti-Japanese War, Under the Roof of Shanghai 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 sorrows, and hints at the prospect of an impending thunderstorm in an effort to make the audience "hear the footsteps of the coming age. ". 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 theater achievement in the Yan'an period was the excellent multi-act play The White-haired Girl, written by He Jingzhi and Ding Yi, which was collectively created by the Luxun Academy of Arts in 1945. Although it was a new opera, its stage style was similar to that of a drama, a product of the skillful combination of drama and ballad, and it 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 Breaking Point of New Period Drama On November 16, 1978, the four-act play In the Silence, written by Shanghai worker Zong Fuxian, was performed with great fanfare. 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, with millions of people having read and watched it through newspapers, television and theaters, the artistic value is no longer the only criterion for measuring it. 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, a stage play, Crush on Peach Blossom Garden, established the position of Taiwanese dramatist Lai Shengchuan (blog) and his workshop in the theater world. Since then, the four times the play has become a reputed Asian classic, and the set of editors, directors in one Lai Shengchuan, also known as the play at home and abroad, known as "the indispensable heavyweights of the Chinese theater world". Love in a Fallen City": 61 years to continue writing two legends Selected as one of the "Top Ten" of the "Love in a Fallen City", referring to the two different versions of the time and space 61 years apart. Eileen Chang wrote her novel Love in a Fallen City in 1943, and the following year personally adapted it into a four-act, eight-scene modern drama, which was presented by Dazhong Theatre Arts Company on December 16 at the Shanghai Sunbeam Theatre. 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 Junhui 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. The director Mao Junhui extends the abrupt ending of the original, placing Bai Liusu in Shanghai after the reform and opening up, in the old house to be demolished to recall and Fan Liuyuan's love in the past.