| This thesis is consisted of the following five parts:Lead, Body, Conclusion, References and Appendices.The Lead includes mainly an evaluation of the achievements of Xi Ayouxi in drama literature and drama theory research; some shortcomings in his works are also pointed out with elaboration on data collection status regarding of the them; a brief description is made on the objective of topic selected, the significance of the topic selected, the innovation points and research methods.The first chapter describes the cause of the close relationship between the life of Xi Ayouxi and Mongolia drama. It points out the importance of a comprehensive understanding of the environment (background) of Mongolia drama art to the research of Xi Ayouxi. The drama theory, drama works, his life, ideology all have deep relations with Mongolia drama art. Therefore, this chapter first describes the generation and development of Modern Mongolian drama art, followed by a review and summary of the life of Xi Ayouxi and his artistic achievements.The first section expounds the rough and difficult development process of Mongolia drama from the display of "Sa Dao An Ban" that went on stage in Nariduomo Theatre on March 2,1922 based on the Se Boyinimoh's drama work "Modern History" as the beginning of the modern Mongolia drama, to the establishment of Central Theatre in 1931, and the development of Mongolia drama in 1934. The section also gives an evaluation on some gifted people who made the most contributions to the setting of right direction for the development of Mongolia's drama art in this special period. The gifted people mentioned in this section include: Xi Ayouxi, Se Boyinnimoh, Mo Yidamusuren, etc.The second section mainly gives a summary and review of the life, art career of Xi Ayouxi, as well as his drama works, fictions, poetries, essays and his literary theory critiques.The second chapter analyzes and studies the types of plays by Xi Ayouxi types. This chapter mainly classifies his works into the drama demonstrating visualization, and the drama depicting character visualization according to the features depicting character images in Xi Ayouxi's works. The chapter also makes analysis and studies on its major drama role, creation structures and methods.The first section introduces in the concept of drama demonstrating visualization to explore the work of Xi Ayouxi's drama "Lively News" (Amid Sonin" in Mongolian) and the formation of the demonstrating visualization drama. The section also gives analysis on the creation techniques, structure layout of his drama "Lively News" and thinks that his works is a synthesis of phenomena from simple scenes to complex scenes, from abstract demonstration to physical display, from rough demonstration to subtle description with interlude speech and portrayal. The drama "Lively News" is a unique piece in Mongolia drama history. It not only played a very positive role itself in the social background of that period, but also became very rare piece in the entire Mongolia drama history for its unique structure. We think it is an innovative bright spot in Xi Ayouxi's drama forms.The second section focuses on the studies of drama depicting character visualization. An overall survey of characters portrayed in his drama shows that he first gives a very vivid portrayal of the images of lamas. He divided lamas into two different types which is a breakthrough to the depicting of lamas in the past. In his works, some lamas are cruel and inhuman, while some are kind and courageous. The images of women in his drama are largely positive. They are all beautiful, brave and wise women. Xi Ayouxi also depicted images of the feudal nobility, who are all bullying, tyrannical, inhuman, and/or fraudulent in his work.The third chapter analyzes and studies the inheritance and innovation features in Xi Ayouxi's drama. This chapter consists of two sections.The first section describes the inheritance in Xi Ayouxi's works. We think that the drama works of Xi Ayouxi inherited forms of abstractness, heroism, duet in the ancient drama literature.The second section elaborates the innovation in Xi Ayouxi's drama works, mainly with an compa rison of the drama by Xi Ayouxi with the drama works by Se Boyinnimoh and Da Nachugdorji in term of the subject matter, language, composition, structure, layout and ending, etc. We think that they all set tragic endings and selected love or historical themes, but having unique features with different styles, particularly the drama works by Xi Ayouxi features more self style with more drama art value for research compared with the works by Se Boyininuh and Da Nachugdorji.The fourth chapter analyses and studies Xi Ayouxi's drama theory and thought system. The chapter consists of two sections.The first section gives description on Xi Ayouxi's overall understanding of art. It makes comparison between the explanation to his art nature and the research results by domestic and foreign academic arena, indicating the accuracy and maturity of his understanding in art, especially the new understanding in drama art.The second section analyses and studies Xi Ayouxi's ideology and ideology system. His ideology system is characterised by enlightenment thought, anti-feudal thought, revolution and reform thought, the historical development thought with national awareness. Further analysis and studies are made based on this.The Conclusion provides a summary to the content of above four chapters and gives high evaluation on the achievement of Xi Ayouxi's drama in language, structure, depiction of character image, inheritance, innovation, etc. Besides, it tries to give an accurate appraisal to Xi Ayouxi's status in and contribution to the development of Mongolia modern literature history and drama art through comments and evaluation to Xi Ayouxi's drama art and his art theory. |
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