American Journal Of Philological Sciences
65
https://theusajournals.com/index.php/ajps
VOLUME
Vol.05 Issue06 2025
PAGE NO.
65-71
10.37547/ajps/Volume05Issue06-19
Chinese Dramas of the 1990s In The 20th Century
Komilova Shaxnoza Turabudinovna
Tashkent State University of Oriental Studies, Lecturer at the Higher School of Sinology, Uzbekistan
Received:
14 April 2025;
Accepted:
10 May 2025;
Published:
12 June 2025
Abstract:
This article contributes to the history of the debate and development of New Era drama and dramaturgy
in China in the 1980s and 1990s. The formation of new era drama was influenced primarily by two factors: the
experience of the "Seventeen Years" period of
话剧
(huà jù, spoken drama), and the concepts and practices of
Western modernist drama. Five major dramatic systems from Europe and America
—
including Brecht's epic
theatre, absurd drama theory, Grotowski's poor theatre, Peter Brook's intense drama, and others
—
had a
significant impact on Chinese dramaturgy. The text highlights the discussions around dramaturgy concepts in the
1980s, focusing on the re-examination of realism, modernism, and classical dramatic models in China. Theories of
Gao Xingjian and other dramatists, new dramatic forms, creative explorations, and perspectives on contemporary
Western drama are analyzed.Furthermore, the text provides information about new dramaturgical tendencies
influenced by social themes, modernist styles, symbolism, expressionism, and absurd drama. It also covers
creative discussions among the public and specialists regarding dramaturgy, alongside its theoretical and practical
aspects. Through examples of plays by Ma Zhongjun, Gao Xingjian, Yan Haiping, and others, the text outlines the
stages of formation and development of new dramaturgy in China. During this period, dramaturgy sought a
balance between realism and modernism while striving to express social, cultural, and philosophical issues
through artistic means.
Keywords:
New Drama, Chinese Drama, huaju (
话剧
), dhramatic Reform, modernism, western Drama, Bertolt
Brecht, Absurd Drama, Grotowski, Peter Brook, realism and modernism, drama theory, Influence of Western
drama, drama concepts, debates, crama innovations, Ma Zhongjun, Gao Xingjian, symbolism, expressionism,
political and cultural content, new dramatic styles.
Introduction:
The second half of the 20th century in the
development of drama (
话剧
huà jù) can be divided
into the following stages:
➢
In the late 1970s and early 1980s,
drama began to revive and recover from the ruins of
the “Cultural Revolution,” achieving great creative
successes over the course of a decade. During this
period, bold explorations and innovations were
undertaken, drawing on Western modernist drama,
and a number of dramatic studies were carried out.
➢
In the early 1990s, drama encountered
a rather complex and difficult environment. While
various experiments were ongoing, the movement of
“small epic theater” became a
noteworthy
phenomenon.
In 1977, drama entered a new era of revival and
renewal. Several excellent plays were re-staged, and
criticism began of the notorious "Gang of Four (
四人帮
sì rén bāng)" and “Conspiracy Drama (
阴
谋戏剧
yīn
móu xì jù),” which had gained populari
ty in the drama
world. The emergence of works such as "When the
Maple Leaves Turn Red (
枫叶红了的时候
fēng yè hóng
le de shí hòu)" and "Dawn (
曙光
shǔ guāng)"
demonstrated a revival in dramatic creativity.
"When the Maple Leaves Turn Red" (by Jin Zhenjia and
Wang Jingyu) was a political comedy and biting satire
that exposed the political deceptions of the “Gang of
Four.” "Dawn" (by Bai Hua) attempted to explore the
ideological roots and internal struggles within the early
history of the Chinese Communist Party. After this,
American Journal Of Philological Sciences
66
https://theusajournals.com/index.php/ajps
American Journal Of Philological Sciences (ISSN
–
2771-2273)
numerous new plays were created.
Plays such as: "In Silence (
于无声
处
yú wú shēng chù)"
(Zong Fuxian), "Testament of Loyalty (
丹心
谱
dān xīn
pǔ)" (Su Shuyang), "There Is Such a Small Courtyard (
有
这样一个小院
yǒu zhè yàng yí gè xiǎo yuàn)" (Li
Longyun), "Revolution in Shenzhou (
神州
风雷
shén
zhōu fēng léi)" (Zhao Xuan, Jin Jingmai), "Neighbors
Around (
左
邻右舍
zuǒ lín yòu shè)" (Su Shuyang), "The
September 13 Incident (
九一三事件
jiǔ yī sān shì jiàn)"
(Ding Yisan)
—
these and many other dramatic works depicted the
people's resistance against the likes of "Dawn" and
those under their control during a decade of
devastation, forming the first wave of "exposing and
criticizing (
揭批
jiē pī)" dramas. A common
characteristic of these plays is the revival and
promotion of the revolutionary huà jù's militant
traditions.
Alongside these “exposing and criticizing” dramas, new
works emerged that reflected real-life struggles in the
new era. These plays addressed major contradictions
and problems in real social life, clearly expressing the
need for ideological liberation and vividly reflecting the
turn towards reality.
Works such as: "Navruz Flower (
报春花
bào chūn huā)"
(Cui Dezhi), "The Future Is Calling (
未来在召
唤
wèi lái
zài zhào huàn)" (Zhao Zixiong), "Save Her (
救救她
jiù jiù
tā)" (Zhao Guoqing), "Power and Law (
权与法
quán yǔ
fǎ)" (Xing Yixun), "Dawn of the Grey Kingdom (
灰色王
国的黎明
huī sè wáng guó de lí míng)" (Zhong Jieying)
—
raised key issues that needed to be addressed in
society, such as family background, eliminating
injustice and lies, juvenile delinquency, abuse of power
over the law, feudal issues, and more. These plays
created a significant public response and signaled the
flourishing of realistic drama in the 1980s.
These plays, known as social problem dramas,
maintained a sharply confrontational stance with
mainstream ideology and played a unique role in
gathering public consensus for social reform. Depicting
the image of the elder generation of Communist Party
revolutionaries also became a topical theme of
creativity during this time. In plays such as: "Turning
Point (
转折
zhuǎn zhé)" (Zhou Lai, Wang Bing, Lin
Kexuan, Zhao Yunsheng), "The Newspaper Boy (
报童
bào tóng)" (Zhu Yi, Shao Chongfei, Wang Zheng, Lin
Kehuan),
—
leaders were portrayed only occasionally.
However, in: "Dawn (
曙光
shǔ guāng)" (Bai Hua), "The
Xi’an Incident (
西安事
变
Xī’ān shì biàn)" (Cheng
Shirong, Zheng Zhong, Yao Yunhuan, Xu Yaohua, Huang
Jingyuan), "Chen Yi Emerges from the Mountains (
陈毅
出山
Chén Yì chū shān)" (Ding Yisan), "Mayor Chen Yi (
陈毅市长
chén yì shì zhǎng)" (Sha Yexin), "The War
Moved to Northern Shaanxi (
转战陕北
zhuǎn zhàn
shǎn běi)" (Ma Rong), "General Peng (
彭大将
军
Péng
dà jiāng jūn)" (Wang Deying, Jin Hong)
—
leaders such as He Long, Zhou Enlai, Chen Yi, Peng
Dehuai, and Mao Zedong became central figures in
drama. In plays like "Mayor Chen Yi", leaders gradually
moved away from being idealized or deified and
became increasingly humanized.
At a time when ideological views were being set aside
and new works were emerging, “If I Were Real (
假如我
是真的
jiǎ rú wǒ shì zhēn de)” (a six
-scene stage play by
Sha Yexin, Li Shoucheng, and Yao Mingde) sparked
nationwide debate across China. From January 23 to
February 13, 1980, the China Playwrights Association
and the China Film Association jointly held a
symposium on scriptwriting in Beijing. During the
symposium, several controversial works were
discussed, including “If I Were Real (
假如我是真的
jiǎ
rú wǒ shì zhēn de)”, the screenplay
“In the Social
Archives (
在社会档案里
zài shè huì dàng àn lǐ) ”, “The
Female Thief (
女
贼
nǚ zéi)” , the novel “Flying to the
Sky (
飞天
fēi tiān)” , and the screenplay “Bitter Love (
苦恋
kǔ liàn)”, among others.
The symposium focused on evaluating literary and
artistic creativity, understanding the spirit of the times,
defining the responsibilities of literature and art,
recognizing authenticity in creative works, and
developing literary criticism.
Hu Yaobang, then head of the Propaganda Department
of the Central Committee of the Chinese Communist
Party, delivered a lengthy speech at the meeting. He
addressed topics such as: “How should we view our
own Party, which is leading us?”, “How should we
relate correctly to our current society?”, “How should
we regard the majority of our population, who are
engaged in both physical and intellectual labor?”,
“How should we view the People’s Liberation Army?”,
“How should we correctly interpret Chairman Mao and
his ideas?”, and “How should we see the darker sides
of our social li
fe?” .
At the beginning of the 1980s, the popularity of huaju (
话剧
–
spoken drama) began to decline, and huaju
started facing significant challenges. The reasons
behind this are complex. Among them are the changing
American Journal Of Philological Sciences
67
https://theusajournals.com/index.php/ajps
American Journal Of Philological Sciences (ISSN
–
2771-2273)
social environment in which huaju existed, the growing
focus on economic life, the broad opening of exchanges
between China and foreign countries in the fields of
economy, science and technology, and culture, as well
as the diversification of entertainment options.
Additionally, internal issues within huaju itself
—
such as
problems in the creation and performance systems,
and conceptual-to-formal challenges in dramatic art
—
were also important factors that could not be ignored.
Despite these difficult circumstances, the tough
situation further inspir
ed playwrights’ passion to
explore and develop the art of drama.
The study of drama progressed simultaneously from
both theoretical and practical perspectives. The
debates and reforms in the drama of the new era were
not only influenced by the deep impact of social
realities, but also shaped by two key dramatic
traditions: First, the experiences
—
both positive and
negative
—
of post-New Literature Movement drama,
especially during the “Seventeen Years” period of huaju
(
话剧
); Second, the concepts and practices of foreign
modernist drama.
Among these, external influences played a particularly
significant role, as reflected in the debates around
drama that took place around 1982. These tensions
arose as a result of the broad influence of Western
modernist literature on Chinese literature.
In addition to reintroducing foreign modern drama
authors first encountered during the May Fourth
Movement
—
such as Maeterlinck, Hauptmann, John
Galsworthy, Strindberg, Kaiser, Toller, O'Neill, and
futurist playwrights like Marinetti and Kayden
—
the
absurdist dramas of Beckett, Ionesco, Adamov, Jean
Genet, Pinter, Albee, and others, which emerged in the
1950s
–
60s in France and spread across Europe and the
United States, also entered China.
In 1979, the China Youth Art Theatre staged B
recht’s
“The Life of Galileo” (
伽利略
传
gā lì luè chuán), serving
as an experimental attempt to integrate the two
dominant systems of dramatic theory: Brecht’s and
Stanislavski’s.
In 1981, the Shanghai Youth Drama Troupe presented
Sartre’s famous “Dirty Hands”
(
肮脏的手
āng zāng de
shǒu) in Shanghai.
In May 1983, the Beijing People’s Art Theatre hosted a
performance of Arthur Miller’s “Death of a Salesman” (
推
销员之死
tuī xiāo yuán zhī sǐ), directed by Miller
himself.
On the theoretical side, Brecht’s epic theater initi
ally
gained attention, followed by theories of absurdist
drama, Grotowski’s “poor theatre,” Peter Brook’s
“rough theatre,” and others. These had a broad and
profound impact on China’s theatrical landscape and
stage practices.
The modernist rebellion against realism in Western
drama
—through Maeterlinck’s static drama and the
pure theory of absurdist dramaturgy
—
had a significant
influence on how Chinese drama circles reinterpreted
traditional dramatic heritage and reassessed the legacy
of traditional Chinese opera. These influences
ultimately led to fierce debates on the concept of
drama itself. In these debates, there was a call to
reexamine traditional understandings of drama
—
especially the long-
dominant model of Ibsen’s social
problem plays and Stanislavski
’s “fourth wall”
technique, which aimed to create the illusion of real
life.
The discussion also revisited the idea of a “free
-
form”
drama, originally proposed in the 1960s by Huang
Zuolin . According to Gao Xingjian, Ibsen’s socially
moralistic plays had existed as a distinct dramatic form
for over a century, but global drama had not ceased
evolving after him. He argued that foreign dramatic
concepts should not be regarded
—
like in the Tongzhi
or Guangxu eras
—
as an unbreakable dramatic code
that shackles our creativity.
These debates helped gain public support for dramatic
exploration in the realms of artistic creation and stage
performance. During this time, the idea of drawing on
Western modern drama, breaking the chains of realistic
models, and pushing for innovation in Chinese
dramaturgy gained significant traction within the
drama world.
This debate in Shanghai first began in 1983 with a
discussion published in Art of Drama regarding Huang
Zuolin’s
theoretical
conclusions
on
realism,
hallucinatory drama, and non-hallucinatory drama. In
Beijing, Drama Newspaper launched an extensive and
in-depth discussion on issues related to drama debates.
The discussion captured the attention of the theatrical
community and had an influence across all of China.
For many years, journals such as Drama Series, Play,
Drama Studies, World of Drama, and others published
numerous articles discussing the nature and essence of
drama, its laws and principles, stage imagination, the
relationship between drama and audiences, dramatic
thinking, and similar topics. These debates were
examined thoroughly and broadly from an academic
perspective. The discussion reached its peak in 1985
and continued intermittently into the 1990s, with
articles still being published on the concept of drama .
During the course of the debate, Gao Xingjian, Chen
Gongmin, and Tan Xusheng each proposed different
theories about the nature of drama
—
namely, the
American Journal Of Philological Sciences
68
https://theusajournals.com/index.php/ajps
American Journal Of Philological Sciences (ISSN
–
2771-2273)
“Theory of Action,” the “Blurry Denotation Theory,”
and the “Theory of Situation,” respectively. Tong
Daoming conducted deep research into the
hypothetical idea of drama, while Lin Kehuan and
others gave high evaluations of the performative
aspects of drama concepts. As for the relationship
between realism and modernism, most critics took a
broadly realistic stance.
Alongside the exploration of dramatic concepts, the
study of creativity and stage practice within the world
of dramatization also developed.
One of the earliest discovery dramas to attract public
attention was the philosophical play “There Is War
mth
Outside the House” (
屋外有
热流
wū wài yǒu rè liú)—
a
one-act play written by Ma Zhongjun, Jia Hongyuan,
and Qu Xinhua, and staged in April 1980 (published in
Play, Issue 6, 1980).
The theme of the play called on youth to break free
from narrow personal concerns and engage with
society, to embrace vitality, and to cast off the lingering
shadows left by the Cultural Revolution. While the
content of the play was traditional, it attracted
significant attention. On one hand, it boldly
incorporated the stylistic elements of symbolism,
expressionism, and absurdist drama (such as a
seamless blend of real scenes, memories, and dreams;
fluid time and space on stage; the appearance of ghosts
walking through walls and conversing on stage, etc.),
which made the play refreshing. On the other hand, it
aimed to reflect the spiritual world of its characters and
imbue the theme with a certain philosophical depth.
The recognition of this play spurred the emergence of
the “discovery drama” genre. By 1984–
1985, this wave
of dramatic experimentation had reached its peak.
During this period, the development of discovery
drama was largely influenced by the concepts and
styles of Western modern drama.
Some of the most influential works from this wave
include: “Blood, Always Boiling” (
血，
总是热的
xuè,
zǒng shì rè de) by Zong Fuxian, “Emperor Qin Shimin” (
秦王李世民
qín wáng lǐ shì mín) by Yan Haiping, “The
True Story of Ah Q” (
阿
Q
正
传
ā Q zhèng zhuàn) by Chen
Baichen
, “The Road” (
路
lù) by Ma Zhongjun and Jia
Hongyuan, “Absolute Signal” (
绝对信号
jué duì xìn
hào) by Gao Xingjian and Liu Huiyuan, “The Station” (
车
站
chē zhàn) by Gao Xingjian, “An Investigation and
Analysis of Fifteen Divorce Cases” (
十五
桩离婚案的调
查剖析
shí wǔ zhuāng lí hūn àn de diào chá pōu xī) by
Liu Shugang, “Life · Love · Freedom” (
生命
·
爱情
·
自由
shēng mìng · ài qíng · zì yóu) by Luo Guoxian, “Zhou
Lang Bows to the Commander” (
周郎拜
帅
zhōu láng
bài shuài) by Wang Gongpei, “Deep Alley” (
小巷深深
xiǎo xiàng shēn shēn) by Wang Shuyuan, “Thursday,
Page 4 of This Newspaper” (
本
报星期四第四版
běn
bào xīng qī sì dì sì bǎn) by Wang Chenggang, “A Dead
Man Visits the Living” (
一个死者
对生者的访问
yí gè sǐ
zhě duì shēng zhě de fǎng wèn) by Liu Shugang, “Red
Room · White Room · Black Room” (
红房间
·
白房
间
·
黑
房
间
hóng
fáng jiān · bái fáng jiān · hēi fáng jiān) by Ma
Zhongjun and Qin Peixun, “A Group of Men on the
Horizon” (
天
边有群男子汉
tiān biān yǒu qún nán zǐ
hàn) by Zhou Zhentian, “The Savage” (
野人
yě rén) by
Gao Xingjian, “Magic Cube” (
魔方
mó fāng) by Tao Jun,
“WM (We)” (
我
们
wǒ men) by Wang Peigong and
others.
From the end of 1985 to the beginning of 1986, the
nationwide enthusiasm for exploring drama began to
fade. Since then, the world of dramatic research has
gradually quieted down, leaving only the traces of the
most determined and persistent individuals. During this
stage, most of the most influential works emerged in a
realist style that had absorbed and internalized the
aesthetics of Western modernist drama. These
included:“Black Steed” (
黑
骏马
hēi jùn mǎ) by Luo
Jianchua
n, “The Nirvana of Lord Gou’er” (
狗儿
爷涅槃
gǒu ér yé niè pán) by Jin Yun, “In Search of a Man” (
寻
找男子汉
xún zhǎo nán zǐ hàn) by Sha Yexin, “The
Desert Bathed in Moonlight” (
洒
满月光的荒原
sǎ mǎn
yuè guāng de huāng yuán) by Li Longyun, “The Chinese
Dream” (
中国梦
zhōng guó
mèng) by Sun Huizhu and
Fei Chunfang, “The Spring of a Twenty
-Year-
Old” (
二十
岁的春天
èr shí suì de chūn tiān) by Yu Yun and Tang
Yin, “The Chronicle of Sangshuping” (
桑
树坪纪事
sāng
shù píng jì shì), “Yunxiang” (
芸香
yún xiāng) by Xu Pinli,
“The Moth” (
蛾
é) by Che Lianbin.
1986
—
From the perspective of time, the trend of
discovery drama can be divided into two phases: Up to
1985, discovery drama was more influenced by the
dramatic concepts and methods of contemporary
Western drama. From 1985 to 1989, the genre became
increasingly characterized by the expansion and
deepening of realism, along with the full absorption of
modernist dramatic aesthetics. From the perspective of
the relationship between the work and realism,
discovery drama can also be classified into two
categories: The first type works under the principle of
realism while rationally incorporating modern dramatic
American Journal Of Philological Sciences
69
https://theusajournals.com/index.php/ajps
American Journal Of Philological Sciences (ISSN
–
2771-2273)
techniques. This enriches the expressive methods of
realism and promotes realistic drama itself. Examples
include: “There Is Warmth Outside the House” (
屋外有
热流
wū wài yǒu rè liú), “Absolute Signal” (
绝对信号
jué duì xìn hào), “The Visit of a Dead Man to the Living”
(
一个死者
对生者的访问
yí gè sǐ zhě duì shēng zhě de
fǎng wèn), “The Nirvana of Lord Gou’er” (
狗儿
爷涅槃
gǒu ér yé niè pán), “The Chronicle of Sangshuping” (
桑
树坪纪事
sāng shù píng jì shì). The second type
operates outside the traditional categories of drama
and is fully based on the study of modernist drama. It
includes features such as: Absence of a traditional
stage, Polyphonic structure, Novelistic narrative, Free-
form drama. Examples of this type include: “Red Room,
White Room, Black Room”, “The Savage” (
野人
yě rén),
“Magic Cube” (
魔方
mó fāng). These works belong to
the second category and reflect a deeper engagement
with modernist dramatic experimentation.
“
The
Nirvana of Lord Gou’er (
狗儿
爷涅槃
)”
is
essentially a play centered on peasants and land. Chen
Hesiang’s father, in a gamble over just 2 mu
(approximately 14 sotok, or 0.14 hectares) of land, ate
a puppy alive and died as a result. He left Chen Hesiang
both th
e 14 sotok of land and the nickname Gou’er Ye
(“Lord Dog”).
Gou’er Ye’s greatest dream was to become a small
landowner: to buy large plots of land, build a tall gate,
wear a traditional Chinese long robe and mandarin
jacket (
长袍马褂
cháng páo mǎ guà), dress i
n clean
shoes and socks, and be so leisurely that he wouldn’t
even bother to pick up a stick lying on the ground
—
someone who rides a donkey through town and eats
pickled cucumbers soaked in sesame oil.
During the second civil war between the Kuomintang
and the Communist Party, while the entire village fled
the conflict, Gou’er Ye sent away his wife and son for
safety and, risking his life, harvested over 20 mu (about
140 sotok) of sesame, peanuts, and millet from Chi
Yongnian’s land. By the time the war e
nded and the
villagers returned, he had already become a wealthy
man.
When the Communist Party’s district secretary, Li
Wanjiang, returned, he not only demanded sesame and
other crops from Chi Yongnian, but also redistributed
Chi’s land and house to Gou’er
Ye. Gou’er Ye came to
firmly believe: “If you have land, you have everything.”
Although his wife had been killed during the war, the
land enabled him to quickly remarry
—
to a beautiful
young widow named Feng Jinhua. He also bought 3 mu
of good farmland from the barber Su Lianyu for three
bags of sesame. With land, chrysanthemums, a wife,
and a son, Gou’er Ye’s lifelong dream had come true.
However, during the collectivization movement and
the establishment of People’s Communes, everything
was taken back in the name of public ownership.
Gou’er Ye went mad, and his wife left him for another
man. After the Reform and Opening-Up policy, land
was returned to individuals, and Gou’er Ye regained his
senses and began preparing to restart his family
business.
But his son, Chen Daxu, wanted to build a factory, and
to do so, he had to demolish the tall-gated house
—
a
symbol of dignity and legacy in Gou’er Ye’s eyes. Seeing
this as an unbearable disgrace, as if his very soul were
being destroyed, Gou’er Ye, in a fit o
f pain, sorrow, and
rage, set fire to the gatehouse.
Through the decades-long rise and fall of the peasant
Gou’er Ye, the play prompts reflection on the changes
in the rural world over recent decades, revealing the
excessive damage caused by rigid leftist ideologies and
showing how history can make a mockery of human
affairs.
At the same time, by expressing Gou’er Ye’s peasant
-
style conformism, arrogance, narrow-mindedness, and
vengeful psychology, the play criticizes the backward
and conservative mentality of small producers. The
symbolic relationship between Gou’er Ye and the gate
tower deepens the critique of feudal ideology and
culture, exposing the deep-rooted connection between
the cultural consciousness of peasants and that of
landlords like Chi Yongnian.
The play adopts the technique of first-person narration,
borrowed from the novel form, which allows Gou’er Ye
to serve as both the subject of the narrative and an
active participant in it. At the same time, it transforms
the protagonist’s inner world
into an independent
artistic image. The creative depiction of the ghost of Chi
Yongnian helps to vividly and intuitively express the
psychological complexity and internal contradictions of
Gou’er Ye through their dialogue and confrontation.
Through these dramatic explorations, Chinese huaju
(spoken drama) began to acquire new characteristics in
terms of artistic concepts, creative thinking, and
aesthetic pursuit. From an artistic standpoint,
dramaturgy gradually freed itself from subordination to
politics and ceased to function as a mere political tool.
Writers no longer observed and portrayed life solely
through a political lens, but instead through the
broader lens of society and various aspects of culture,
writing about life, its richness, and complexity. In terms
of creative process, writers no longer saw themselves
as passive reflectors of life, but instead emphasized the
subjective initiative of the artist (including directors
American Journal Of Philological Sciences
70
https://theusajournals.com/index.php/ajps
American Journal Of Philological Sciences (ISSN
–
2771-2273)
and scriptwriters). This shift was primarily evident in
the transformation of realistic time and space in many
dramatic works. Secondly, it reflected a break from the
outdated conventions that had been in place since the
May Fourth Movement.
Artists boldly incorporated diverse artistic elements
such as music, song, dance, pantomime, gymnastics,
acrobatics, and technical innovations brought by
modern technology
—
sound, lighting, and electricity
—
to construct a grand, comprehensive artistic system
that served their own expressive needs. In many plays,
creators often used narrators, storytelling characters,
and even choruses to insert their own commentary into
the narrative
—
another manifestation of the artist’s
subjective initiative.
Emphasis on spiritual expression, philosophical
symbolism, and narrative structure became common
aesthetic features in dramatic exploration. By the
1990s, however, the wave of exploratory drama had
nearly come to a halt.
Development of Realistic Drama in China During the
1980s
In the 1980s, while exploratory dramaturgy was gaining
momentum, realistic drama continued to yield positive
results despite challenges. Some of the most notable
works from this period include: Bright Moon Shines on
People (
明月初照人
) by Bai Fengsi, Who is the Strong
One (
谁是强者
) by Liang Bingkun, The Sorghum Has
Turned Red (
高粱
红了
) by Li J
ie, Lieutenant Song’s
Diary (
宋指
导员的日记
) by Mo Yan, Old Friends in the
Storm (
风雨故人来
) by Bai Fengxi, Red and White
Celebrations (
红白喜事
) by Wei Min, Xiaojing Hutong (
小井胡同
) by Li Longyun.
These works represented a significant advancement
over previous stages, delving deeper into the realities
of life. They not only reflected the "Seventeen Years"
period but also explored China's ancient cultural
traditions. The characters became more complex and
multifaceted. With the decline of exploratory
dramaturgy, realistic drama experienced a resurgence.
During this period, realism incorporated modern
dramaturgical techniques, leading to distinctive
transformations. Representative works include: Black
Stone (
黑色的石
头
) by Yang Limin, The Field Again
Under the Green Shazhang (
田野又是青
纱帐
) by Li Jie,
Elm Tree Style (
榆树屯风情
) by Hao Guochen, Guta
Street (
古塔街
) by Li Jie, Don't Know Whose Home
Thinks of Autumn (
不知秋思在
谁家
) by Bai Fengxi, The
First Building in the World (
天下第一楼
) by He Jiping,
Fire God and Autumn Girl (
火神与秋女
) by Su Ley,
There Is a Cluster of Sacred Fire on the Horizon (
天
边有
一簇圣火
) by Chen Zhenxuan. These works reflect the
dynamic evolution of Chinese realistic drama during
the 1980s, showcasing a blend of traditional themes
with modern artistic expressions.
In the 1990s, the plays of Guo Chihong, Guo Shixing,
and Yao Yuanjing were considered noteworthy dramas.
Guo Chihong (born in 1940) is a renowned opera
scriptwriter, known for works such as The Legacy of the
Southern Tang Dynasty (
南唐
遗事
), Sima Qian (
司
马迁
), The Farewell of Zhuo Wenjun (
卓文君
别传
), and
Cheng Zhaocai (
成兆才
), written for Kunqu Opera and
Pingju Opera. In the early 1990s, Guo Chihong
transferred from the Northern Kunqu Opera Theatre to
the Beijing People's Art Theatre and wrote the four-act
historical drama "Li Bai." The central figure of the play
is the great poet Li Bai, and it depicts the ups and downs
of his life, particularly his inner turmoil following the An
Lushan Rebellion. The overall tone emphasizes the
poetic essence of human nature and the inexplicable
circumstances of life.
After the An Lushan Rebellion, the Tang Empire
awaited rejuvenation. Li Bai, a poet full of love and
aspirations to contribute to the world, placed great
hope in Emperor Yong and became one of his
supporters. However, the Taoist priest Wu Yun warned
him: if he wished to complete the tragic path of Qu
Yuan by using the free-spirited wisdom of Zhuangzi,
wouldn’t he be moving in the opposite direction?
Initially, Li Bai believed he could demonstrate his talent
and ambition, but he ended up a beggar at the gates of
Emperor Yong. With Emperor Yong’s defeat, Li Bai was
imprisoned and faced death. He was later exiled to
Yelang, and upon receiving news of his pardon, he once
again felt a surge of ambition. One night, as the river
flowed and the wind carried the scent of wine, he stood
proudly at the bow of a boat, eyes blurred from
drunkenness, mesmerized by the bright moon reflected
in the water
—
and he stepped into the river.
Ultimately, the exiled Li Bai did not return to court or
military life but instead returned to the realm of poetry,
embracing his true self.
With the conscience of an intellectual dramatist, the
play reflects on the centuries-old dream of Chinese
literary scholars to help the world, and it conveys the
true emotions, nature, and ideals of Li Bai. Throughout
his life, Li Bai’s spiritual journey was filled with pain and
inner conflict. His sincerity and humanism made it
difficult for him to adapt to the chaotic political
struggles between the dynasties of Qin, Mu, and Chu.
American Journal Of Philological Sciences
71
https://theusajournals.com/index.php/ajps
American Journal Of Philological Sciences (ISSN
–
2771-2273)
His deep sense of responsibility for all people in the
world never allowed him to rest in peace, even in old
age. He was destined to live a life filled with
disappointment and confusion. Yet his bravery in the
face of death, his awe-inspiring character, and his
heroic spirit as a warrior who sheds no tears
—
these
qualities shine like treasures reflected in the mirror of
art. Though intangible in the real world, they possess a
unique poetic brilliance and spiritual aesthetic.
REFERENCES
中国
现
代文学史
1917
—
2010(
精
编版
)/
朱
栋霖主编
.
北京
:
北京大学
, 2011.
話劇：表演藝術
.
胡星亮，文學博士，安徽大學特
聘教授、博士生導師
. 2011
董
健
.
关于中国当代
戏剧史的几个问题
. 2010
.
