Reflection on Chinese problem play traditional

Reflection on Chinese problem play traditional


Basic information
The time of publication:2012-7
Press:China theater press
Author:Chen Min
Pages:181
Words:180000
BookTitle:Reflection on Chinese problem play traditional
Summary of contents
For a century, the mainstream critics to powerful forces to build a specific reading horizon [], and influenced the theory circles and Chinese writers and Chinese audience. The occupying authority criticism theory itself is a huge misunderstanding. "Rethinking" tradition of Chinese problem play based on the reflection, in a rational and aesthetic peeling point circle [absurd] see China drama theory, in-depth, systematic and comprehensive analysis and Discussion on the tradition of Chinese problem play. 
Author intro
Chen Min, doctor of literature. He studied under Professor Zhuang Haoran, Fujian Normal University College of Dramatic Literature Department of Central Academy of Drama professor Tan Peisheng of master and doctoral degree. He has taught in the College of Fujian Normal University, associate professor of Dramatic Literature Department of Central Academy of Drama, the international critics association China branch director, secretary. Teaching and research devoted to the history of Chinese drama, drama, drama theory and creation of aesthetic. Participate in the "drama" and "essence of morphological foreign art appreciation", "foreign classics works", "Chinese and foreign plays appreciation" and many other drama theory books and textbooks compiling. In the core journals play in more than a dozen. In 2010 the Ministry of education "program for New Century Excellent talents". 
Catalog
Objective reflection, based on Chinese drama theory astray "stripping" 
A, doubt and thinking of
two, reference and development of
the first chapter Ibsen social drama aesthetic characteristics of
the first western drama theory on Ibsen's two views of
second section Bernard Shaw "the Ibsen doctrine" the mistakes and causes
third Festival "Ross Mo Zhuang" Ibsen "deepest" social drama
second chapter Arthur Miller social drama theory and practice
the first social drama the inherent characteristics of
second social drama form
third "death of a salesman" social drama the theory of perfect practice annotation
third chapter of China's "five four" period of the problem play
the first section of the Hu Shi "Ibsen doctrine" mistakes and roots of
second "five four" problem play characteristics and model of
third section of Chinese drama theory of "five four" problem plays two kinds of attitude
the fourth chapter "five four" problem play tradition is how to inherit? Reflections on the contemporary inheritance and fracture of
the
section, policy propaganda play drama, "five four" problem plays deformity of
second section Cao Yu, Xia Yan should not be included in the "problem plays"
team playwright
third "five four" problem plays a traditional, to better the future
reference
Chapter abstract
The copyright page: Bernard Shaw's problem is that in Ibsen's works, he didn't notice the discussion reveals part is always attached to the perceptual figure, discuss social problems is a skill of Ibsen's play, rather than the creation of the thrust. Bernard Shaw can put the creative skills and purpose of equal, that he will discuss Ibsen's dramatic this issue, understand simplistic. Bernard Shaw proposed to Ibsen's "drama and discusses practical combined into one", however, he did not further to discuss "one" approach, simply understood as: "to discuss development gradually, until it covers and osmotic action, the action into to." In Bernard Shaw's view, this obvious truth, don't talk about, you know. But the fact is not the case. Undoubtedly, the British theorists have proposed "discussion is not dramatic" point of view, the discussion itself, there is some truth. Discussion and drama are incompatible. Discussion is a manipulation theorists used, it emphasizes the rational judgement, reasoning and proof, requiring rational logic involved; and the drama is emphasized "reproduction" and "performance", presented to the audience is the plot and characters of emotional logic is very strong, it instinctively reject the rational logic of intervention. So, this itself is not. In the play, if the character is just a general discussion of issues, debate, there is no dramatic. As Bellinsky said: "if two people quarrel about something, here not only no drama, and no drama factors". Therefore, in order to make the discussion to drama, "coverage and penetration" action finally "absorption" action, and finally become the audience "interest in the center", has become something dramatic, this is all need specific conditions. In "a doll's house", Ibsen provides two experience for us: first, pre for discussion scenes, characters discuss action arrange sharp and rich situation, the situation of tension to the attention of the audience is introduced, so that they are interested. Although the problem scene happened in the third act the last debate on "a doll's house", but we saw in the curtain as the author in this discussion was doing well situated to. 
Editor recommends
"Rethinking" tradition of Chinese problem play to know the essence of drama, play is the spirit of the "Westernization", it does not come from the Chinese literary tradition, but from the modern western humanism philosophy. By Hu Shi accept the western modern education thinker positive borrow, propagation and incites, Chinese drama has formed its own unique artistic philosophy, namely, enlightenment, criticism of philosophy.
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