Introduction
Drama is supposed to be a comprehensive art, with playwriting, directing, acting, choreography, lighting, and critique being indispensable. Even more indispensable is the object of accepting this art - the audience. Of course, in Shakespeare's time, the factors of drama are a little less. The reason why drama has endured in Europe for centuries, a very important reason is because drama has cultivated generations of audience, and generations of audience on the organic combination of the two thinking and entertainment and prompted the development of drama.
[edit]History
Chinese drama began in 1907, the thirty-third year of the Qing Dynasty. It was introduced to Liaoning in the second year of the Xuantong era of the Qing Dynasty (1910).
In the second year of Xuantong, Liu Yi Zhou (Muduo), a member of the Alliance, came to Liaoyang from Guannai, and performed the new dramas "Mourning in Jiangnan" and "Continental Spring and Autumn". In May of the same year to Fengtian, and opera artists Ding Xianghua, Du Yunqing and other people, have performed in Ming Sheng Tea Garden to attack the feudal dictatorship of the new play "Congress blood", the Japanese Consulate protested, Fengtian municipal authorities succumbed to the pressure, ordered a ban on the performance. In the first year of the Republic of China (1912), Miao Tianyu and Feng Dihan, members of the Shanghai Alliance, led a troupe to Guangde Tea Garden in Liaoyang City (Liaoyang Daguanlou) to perform dramas such as "Polish Misery of the Fallen Country" and "Soul of the Republic of China". After the introduction of drama into Liaoning, enthusiasts from all over the country organized drama performances. In the 5th year of the Republic of China (1916), Dalian's Chen Fei I initiated the organization of drama club, and served as president, most of the members are the city's merchants and gentry, and newspapers, schools, cultural figures from all walks of life, performances of plays such as the fun play "Drunken ghosts catching adulterers", the play "Chivalrous prostitutes of greenhouses," "Tears of the Xiangjiang River," "Fierce back," "Brothers of Different Mothers," and so on. In the 11th year of the Republic of China (1922), the elementary school attached to the Fushun YMCA performed in Fushun West Theater House, such as "Bad Marriage" and "The Case of Inverted Lun".
Republic of China 14 years, Ouyang Yuqian to Dalian, Shenyang and other places to the local theater community and hobby of new plays of young people to speak on the art of the common people, the dissemination of modern drama. Shenyang, Shenyang, China **** party underground worker Zhang Guangqi (female) and female teacher classmates were absorbed into the "Fengtian Youth Association" organized by the drama troupe, performing plays "Qiu Jin and Xu Xilin's story", "Southeast flight of the peacock", "Whose crime", "marriage proposal" and so on. Ouyang Yuqian also performed with Zhang Guangqi in "The Fan of the Young Grandmother" and "After Going Home". In February of the same year, Ouyang Yuqian was invited by the Dalian Chinese Youth Association to give a lecture on "The Way of Chinese Drama Reform". Amateur drama groups were organized all over Liaoning, and their performances were very active. In February of the 15th year of the Republic of China, Dalian formally established the Aimei Drama Club. This was the first formal drama group in Liaoning, with president Ma Dianyuan, vice president Wang Quanxiang and director Lv Futang. In May of 1927, Aimei Drama Club was invited by YMCA to perform in the auditorium of YMCA (in today's Democracy Square) in order to prepare for the Civilian Education Fund, staging tragedies reflecting the conflicts in the family and the society, such as "A Thousand Autumns and a Thousand Remaining Hatred" and other dramas. In September of 18th, Che Xiangzhen organized "Fengtian Student Civilian Service Troupe" and performed plays such as "Improvement Hospital" and "Blindness" in Dahan Tun, a suburb of Fengtian.
After the September 18th Incident in 1948, the Japanese authorities enacted the "Art and Culture Guidelines" and implemented cultural dictatorship, which dealt a severe blow to the newly-emerging mass drama boom in Liaoning. However, some folk drama groups continued their activities under the leadership and influence of the CPC. Republic of 28 years (1939) summer, Jinshan Long, Yang Ruo Zhu, Wang Zongren and others founded the Shenyang Amateur Drama Troupe, staged Ding Xilin's ten-act play "Wifeless Tired". The troupe later merged with Fengtian Drama Troupe, renamed the International Theatre Troupe, by Li Qiao, Jinshan Long as choreographer, successively performed in the South International Theatre (now Liao Yi Theatre), such as Butcher, the Beacon on the Seaside, the depths of the night, and the lifeline. After that, Zhuanghe County Women's National Higher School performed "The Harmonious Family" and "Home", Benxi Xu Dianlin wrote and performed his own play "Love Trilogy", and Anshan progressive writer Yan Lifu organized the Zongsheng Drama Troupe, which performed his play "Vigilance" and so on.
This period, the pseudo-regime set up three major imperial troupes: "Datong Theater Troupe" (Changchun), "Theater Troupe Harbin", and "Fengtian Concord Theater Troupe", all of which were subordinate to the Pseudo-Concordia Society. The "Fengtian Concord Troupe" was affiliated with the Pseudo Concord Association. "Fengtian Concord Troupe" was established in September 27, the Republic of China, more than 100 people, "has to fulfill the cultural aspects of the Concord Association's important mission. The organizers of the troupe, Atsushi Hara (chairman of the Concordia of Pseudo-Manchurian Theater Troupe), Susumu Mizayama, and Yasuda, were all Japanese. In November of that year, a small public performance was held with the play "New Year's Eve Song". Republic of 28 years in June, held the first large public performance, the repertoire for the "East Palace Daisuke", "in the pasture"; in December of the same year held a tour of the large special performance, the repertoire for the "from the army", "blood track" and so on. These plays are all for the Japanese invaders to sing the praises of the Japanese. By the year of R.O.C. 30, the troupe **** created and performed more than 20 plays. From R.O.C. 30 to R.O.C. 32, the troupe performed "Thunderstorm", "Sprout", "Lust for the Devil" and so on in major cities in the Northeast. In 1942, the troupe performed the famous Soviet drama "Roar, China" in Fengtian, exposing the criminal history of the British and American imperialist invasion of China. Japan's original intention of performing this play was to publicize the evils of the British and American powers that had eaten up China, and to arouse the hatred of the Chinese people towards the American and British imperialists. But contrary to expectations, on the contrary, the majority of the audience on the invasion of Japan's unparalleled hatred, the masses scrambled to watch, unprecedented attendance. This makes the Japanese pseudo-rulers greatly alarmed, immediately ordered to stop the show. In addition, the Japanese hypocrites also organized troupes in major cities in Liaoning, for the Japanese invaders, such as the Concord Theatre Troupe (Dalian), Concord Pavilion Theatre Troupe (Andong) and so on. These troupes were disbanded after the restoration of the Northeast on August 15th.
In the early days of the Liberation War, the Chinese ****productivity party drew a large number of revolutionary literature and art workers to the Northeast, and set up a number of literature and art troupes in the Liaoning area. These troupes performed literary and artistic programs and did mass work in every place they visited, and helped to establish literary and artistic troupes and teams in various places. A large number of live newspaper dramas, small dramas, etc., for the Northeast, Liaoning region for the development of new drama has laid a solid foundation. At the same time, Shenyang, Dalian, Andong and other places also formed a number of folk drama groups, they are self-funded, voluntary combination of private private professional troupes, such as Dalian's East Arts Troupe, the Light Restoration Troupe, China Youth Troupe, Liaodong Theater Troupe, Dalian Theater Troupe, Sino-Soviet Friendship Troupe and so on, performed in the words of the "night is not yet over", "Blood Debt", "Begonia", "Strong Mountains and Rivers" and so on. At the same time, the nationalist army "political work team" and some of the nationalist party operated drama troupes, at one time to control the drama stage in Liaoning, especially in major cities, they performed in Shenyang, Dalian, Andong and other places to perform a number of reactionary dramas, such as the first word of the sky, the wild roses, etc., at the same time, but also performed the "Thunderstorm," the "Sunrise ".
After the founding of the People's Republic of China (PRC), drama theaters and troupes were set up in every city in the province. Over the past few decades, drama has developed relatively quickly, training a group of more reputable actors and actresses both inside and outside the province.
A kind of drama with dialog and action as the main means of expression. It first appeared on the eve of the Xinhai Revolution and was called "new drama" or "civilized drama". New plays declined after the 1911 Revolution. "After the May Fourth Movement, European drama was introduced to China, and modern Chinese drama emerged, which was then called "Aimei Drama" and "Baihua Drama", and in 1928, Hong Shen proposed to name it drama. It reflects social life through characters. Dialogues in dramas are refined and processed colloquialisms, which must be personalized, natural, refined, vivid, beautiful, expressive, easy to understand and acceptable to the masses. Guo Moruo's "Qu Yuan", Lao She's "Teahouse", Cao Yu's "Thunderstorm", etc., are all famous dramas in China.
Drama was introduced to China by foreign countries only at the beginning of this century, and in 1907, Zeng Xiaogu, a Chinese student studying in Tokyo, Japan, adapted "Negro Appeal for Heaven" based on an American novel, which was the first script of early Chinese drama. Famous modern dramatists include Guo Moruo, Cao Yu, Hong Shen, Tian Han and Lao She.
[Edit Paragraph]Characteristics
The art of drama has the following basic characteristics:
First, the stage. The performance of drama in ancient and modern times and foreign countries are completed with the help of the stage, the stage has a variety of styles, the purpose is twofold: one is favorable to the actors to perform the drama, one is favorable to the audience to appreciate from all angles.
Secondly, intuition. Drama is first of all the actor's posture, movement, dialog, monologue and other performances, direct effect on the audience's visual and auditory; and make-up, clothing and other means of character modeling, so that the audience can directly view the characters in the drama of the physical characteristics of the image.
Third, synthesis. Drama is a kind of comprehensive art, its characteristics are with the stage to create a specific artistic image, to the audience directly show the social life scene needs and adapt.
Fourth, dialog. Drama is distinguished from other kinds of plays by the large number of stage dialogues to show the plot, characterization and expression of the theme. There are character monologues and audience dialogues, which complete the content of the drama in a specific time and space.
[edit]Classic Plays
The classic plays of drama mainly include Negro Appeal to Heaven (authors: Zeng Xiaogu and Li Shutong ), The Death of a Famous Man (author: Tian Han), Struggle at the End of the Year (written under the auspices of Fang Zhimin), Lifelong Matters (author: Hu Shih), A Horse Bee (author: Ding Xilin), The Night of the Acquired Tiger (author: Tian Han), and Wukui Bridge" (author: Hong Shen), "Thunderstorm" (author: Cao Yu), "It's Only Spring" (author: Li Jianwu), "Sunrise" (author: Cao Yu), "The Wilderness" (author: Cao Yu), "Under the Eaves of Shanghai" (author: Xia Yan), "Shanghai at Night" (author: Yu Ling), "Behind the Screen" (author: Ouyang Yuqian), "Lower Your Whip" (author: Chen Leiting), "The People of Beijing (author: Cao Yu), Qu Yuan (author: Guo Moruo), Fascist Germs (author: Xia Yan), The Gentleman on the Beam (author: Zuo Lin), The Catching of the Brawlers (author: Chen Ge, Ding Hong, Dai Bixiang and other collective compositions), Returning Home from the Wind and Snowy Nights (author: Wu Zuguang), Picture of a Promoted Official (author: Chen Baichuan), Peach Blossom Fan (author: Ouyang Yuqian), Longshougou (author: Lao She), The Maranatha (author: Ren Deyao), Guan Hanqing (author: Tian Han), The Teahouse (author: Lao She), Cai Wenji (author: Guo Moruo), The Wedding of the Herzogs (author: U Baixin), In Silence (author: Zong Fuxian), Songs of the Great Winds (author: Chen Baichen), Chen Yi Mayor (author: Sha Yexin), Songtsen Gampo (author: Huang Zhilong, penned by Tsering Dorjee and Lobsang Tsering), The Stormy Old Man Comes (author: Bai Fengxi), An Interview of the Dead with the Living (author: Liu Shuzang), Nirvana of the Dogs (author: Liu Jinyun), Beijing to the North is the Northern Great Wasteland (author: Yang Baochen), The First Building Under Heaven (author: He Jiping), The Red Dragonflies (author: Ouyang Yibing), Li Bai (author: Guo Qihong), Shang Yang (author: Yao Yuan), Beijing Master (author: Zhong Jieying), Autumn (authors: Yao Baochen and Wei Zhong), Ballad of the Yellow Earth (author: Meng Bing), There is a Kind of Poison (author: Wan Fang), and Crush on Peach Blossom Garden (author: Lai Shengchuan).
[Edit paragraph] Drama history
Jia Junxue
Early drama Xinhai period and in Hong Kong, Taiwan performance history collection is difficult to add a more word, but these two is the history of Chinese drama can not be separated out of a team: the most breakthrough in my collection of drama history is the Xinhai period and Hong Kong, Taiwan, the two parts of this, the most worthy of the "big book"! "
The Anti-Republican Movement of China (ARC)
After the victory in the war in Hong Kong activities of the underground party led by the Central Plains Theater Association, this theater respectively by the (Dongjiang Column Lu Xun art team, art college, art association, the new China four teams of drama part of the members of the composition) this theater often low ticket prices to contact the general public. It has performed "The Promotion of Officials" and "Lead by Example" directed by Zhang Mian and Qu Baiyin.
In the summer of 1948, at the initiative of comrades Xia Yan and Shao Tsuen-phu, the opera "The White-haired Girl" was jointly performed in Hong Kong by the Founding Drama Society, the Chung Yuen Drama Society and the Chinese Conservatory of Music, all of which were in Hong Kong. This was the first time that a large-scale opera from the liberated areas was performed in Hong Kong. At that time, the Hong Kong government had the Secretary for Chinese Affairs reviewing the script and issuing performance permits. In order to win the approval of the censorship, in addition to sending people to get through the internal relations, and in the submission of the censorship to emphasize that the "White-haired Girl" is the "White-haired Nun" depiction of the legend of the gods and monsters of the opera and approved the staging of the show. After the staging of the sensational Hong Kong and Kowloon, a full house, some of the audience from Macao, Singapore and other places to come to see the play. Because of the influence is too big, the Kuomintang had sent secret agents in the performance of many times to disrupt, the Kuomintang newspaper "National Daily News" with a striking headline: "Eighth Route Army courtesan Li Luling (played by the actor of the Xie'er) sneaked into Hong Kong to disrupt the hearts and minds of people to carry out the propaganda of the party of the **** ......" but Because the then Governor of Hong Kong and his entourage had seen the performance. The Hong Kong government had already approved the public performance, especially the audience was enthusiastic, people from all walks of life in Hong Kong and Kowloon supported the performance of "The White-haired Girl", and the sabotage and disruption by the reactionary faction of the Kuomintang failed to succeed, and the performance of "The White-haired Girl" in Hong Kong was a great success. At that time, the society of Hong Kong was one of the strongest and weakest, and it was a paradise for adventurers: the social trend was that people of honor and prestige were favored. In order to stop the reactionary faction from making trouble, the actors found an old lady to step in and help them. This person was Mr. He Xiangning, who was feared by even the four great families of Chiang, Sung, Kong and Chen.
After the performance of "The White-haired Girl", Mr. He Xiangning invited all the actors to have a seafood dinner at the waterfront of Repulse Bay in Kowloon Harbor to celebrate the performance.
Mr. Guo Moruo, who was in Hong Kong at that time, wrote an article entitled "The Tragedy of Liberation" for the performance of "The White Haired Girl", pointing out that the story of "The White Haired Girl" was a fact of the War of Resistance against Japanese Aggression that had been widely disseminated in the liberated areas. The production and performance of the play "The White-haired Girl" undoubtedly marked the liberation of tragedy. It is the prelude to the triumphal or triumphant song of the people's liberation.
During the war period, in 1940, the Shanghai, Hong Kong and Guangdong Youth Service Troupe of Young People with the Army staged Mr. Xia Yan's war drama "One Year" in Hong Kong (the title of the play was changed to "The Night of the Flowering Candle" to facilitate the Hong Kong government's censorship). Directed by Lin Hui, with actors Ba Hong, Bao Shu Ying (Su Yin) and Huang Hansheng.
In 1946, "New China Theater Society" (founded in Guangxi after the 1941 Anhui Incident) was established. This theater paid the heart and soul of Zhou Enlai, wartime has been funded by the Southern Bureau of the Party performances of high ideological and artistic standards of the play) should be invited by the Taiwan governor to perform in Taiwan "Zheng Chenggong", "Sunrise", "Cowherd and Weaving Maiden", "Peach Blossom Fan". In the face of the drama brought by the people of the motherland, the people of Taiwan warmly welcomed the New China Drama Club. The "New China Theater Society" was a network of the leading figures and all the talents of the Chinese theater industry at that time.
The head of the New China Drama Society was Qu Baiyin
The staff included Shi Lianxing, Zhu Lin, Li Luling, Dai Ailian, Su Yin, Cao Mian, You Mei, Ye Lucy, Xu Bingyi, Yan Kung, Jia Ke, Wang Yi, Wang Gong, Te Wei, Zha Qiangfeng, Shi Yan, Zhang Youliang, Yao Ping, Jiang Kefu, Zhang Kai, Li Bahong, and Yue Xunlie, among others.
Creators:Tian Han, Hong Shen
Special Cast:Bai Yang, Shu Xiowen, Wei Heling, Wang Renmei, Sha Meng, Zheng Junli, Jin Yan
Special Director:Hong Shen, Shi Dongshan, Situ Huimin, Zhang Mian, Ouyang Yuqian, Cai Chusheng
Special Screenwriters:Tian Han, Cao Yu, Yang Hansheng, Xia Yan, Song Zhi's.
These handsome talents were all stalwarts of the drama or movie industry after the founding of New China.
[edit]Drama and Opera
The Poetic Marriage of Drama and Opera in the Hundred Years of Drama
Jennifer Zhang
China's Drama was born in 1907, and it has been a century since then. Classic masterpieces such as Thunderstorm, Teahouse, and Cai Wenji have influenced generations of theatergoers. Drama directors represented by Lin Zhaohua and Xu Xiaozhong, on the basis of inheriting the essence of Mr. Jiao Juyin's idea of "nationalization of drama", have integrated the aesthetics of opera into the creation of dramas, realizing a poetic "marriage" between the century-old dramas and traditional operas.
"The sound is born from the human heart, and the human heart is moved by things that are made to move, and the feeling is moved by things, so it is shaped in the sound." Chinese opera is like a classical beauty to be word boudoir, accompanied by the Tang style Song rhyme high sighs and murmurs, along the historical trajectory of the Southern Opera, Yuan miscellaneous plays all the way to the Lotus Steps. It is the candlelight of traditional culture, so that the opera "away from the shape to take the meaning of", not to seek similarity but to seek God. Virtual performances such as ink painting of the vertical and horizontal brush, long songs when crying, long-sleeved dance, "no painting everywhere into a wonderful place"; write the stage simple and ethereal, no flowers and trees but see the color of spring, no waves can be viewed in the river; singing, reading and playing in the "remittance of the ancient loyalty and filial piety and righteousness, a moment of sadness and happiness into the clutch! In the singing, reading and playing, "loyalty, filial piety, righteousness, sorrow and happiness", everywhere embodies the poetry of the opera itself and the lyric beauty of the poem. For example, the Peking Opera "Autumn River" "boat" one, the old boatman oars ferry Chen Miaochang to catch up with Pan Bizheng, who went to the examination, there is no water on the stage nor a boat, depending on the physical movements of the actors to express the bumpy and rocky scene, sometimes the rapids, sometimes the wind and the waves, the performance of the gods, but also exquisite.
Unlike traditional opera, drama rooted in European culture shows a distinctly realist style in both the perspective of social life and the specific stage scenes. The same performance boat, Stanislavski directed the famous play "Othello" on the Venetian boat treatment can be said to be extremely realistic: twelve people to promote the huge hull, with a fan blowing linen pockets, simulating the sound of the waves. Although the realistic drama can let the audience produce "into the story" psychological reaction, but excessive piling up the limited stage space lacks the beauty of the spirit of the floating, drama directors gradually realized that the realistic and realistic should not be a clear distinction between the two poles.
From the Western gentleman to the modest gentleman, drama draws from traditional opera with an eclectic mind. Mr. Jiao Juyin said, "In the form of drama, the spirit of opera is transmitted." Drama borrows from opera not only by copying its external form, but more importantly by "transforming" its internal charm. The beauty of the curves of the stage dispatch, the rhythmic beauty of the recitation, and the stylized beauty of the characters' postures and steps in "The Teahouse" are all the concentrated embodiment of the techniques of the opera. In addition, director Xu Xiaozhong in "Mulberry Pine Chronicle" shows the laboring scene with the performance of singing and dancing teams, which enhances the dramatic writing; the drama "Ten Thousand Lights" uses the Peking Opera's "Deep in the Night" to set the atmosphere in the "Blackout" scene; director Lin Zhaohua in "White Deer Plain" uses the Shaanxi opera's "Deep in the Night" to set the atmosphere; and director Lin Zhaohua in "White Deer Plain" uses the Shaanxi opera's "White Deer Plain" to set the mood. White Deer Plains", director Lin Zhaohua used Shaanxi Qinqiang as the background music throughout, realizing the perfect fusion of local opera and drama.
Theater theorist Ma Shaobo said, "If it is real but not virtual, it will be turbid; if it is virtual but not real, it will be floating." I believe that drama and opera complement each other, poetic "marriage" will be a hundred years of drama to support a clear sky.