The Drama Path Of Taiwan’s Left-Wing Context

Taiwan’s left-wing intellectuals went on and on in the torrent of the times,and outlined the context of a left-wing ideological movement with the literary and artistic political movement.Taking the drama path as a method to observe the left-wing context of Taiwan,the dynamic development of the theoretical context of left-wing drama should first be presented.After the emergence of New Literature in Taiwan under Japanese colonial rule in the 1920s,out of enlightenment and anti-colonial needs,the new drama movement flourished.Taiwanese writers criticized and resisted the"Imperial People’s Drama".The discussion of "popularization of literature and art"initially established a dramatic concept closely linked to reality(politics).The"Mailang Singing Team" in the early days of the Liberation took up the revolutionary artistic context of the mainland and even the liberated areas.In the 1950s,Yang Kui’s"street drama" theory still had an enlightening effect when the later local literature thoughts emerged.The "martial law" that began in 1949 made the "left wing" exist.only in the form of underground undercurrents or concealment.Chen Yingzhen and other left-wing youths opposed war and criticized the abuses of capitalism through the"Theatre" magazine with the purpose of "modern",and initiated the preliminary construction of Taiwan’s left-wing theater theory.After the performance of "Waiting for Godot",Chen Yingzhen affirmed the rationality of modernism’s criticism of the social maladies of Western capitalism,but he was skeptical of their eagerness to describe modern people’s mental illness.He also believed that Taiwan’s modernism lacked an objective basis,with a "second-class" character and a "less thinking ability".Based on this,Chen Yingzhen proposed "redevelopment of modernism",that is,"return to reality" and "establishment of knowledge and thinking".In the 1980s,the introduction of Western drama theories and the political loosening gave birth to the prosperity of Taiwan’s small theater movement,and left-wing dramas became active in this context."Epic Theater","Theater of Cruelty","Theater of the Oppressed","Butoh" such as art theory,its left-wing theater thinking,attitude or resistance training methods system performance,all creative experiments infiltrate left-wing theater workers in Taiwan.The new topics and content that the left wing pays attention to under the changing times need to be expressed in new forms."Body" and"People" have gradually become keywords in left-wing drama.Wang Molin’s "Body View" believes that the body is a prop for performance,and the country,society and culture all use the prop to complete the installation of space.Zhong Qiao’s folk theater takes the actual problems faced by the people as the starting point,and allows the people to enter the theater to participate in it to expose contradictions and solve problems.Although in the process of the evolution of left-wing drama aesthetics,there are differences in literary and artistic concepts,but this shows that drama under the left-wing thought has multiple paths,which also gave birth to more possibilities for left-wing drama.In addition to the theory of Taiwan’s left-wing drama,three major themes constitute the main territory of Taiwan’s left-wing drama.Anti-Japanese,colonization,and anti-imperialist are the top themes of Taiwan’s left-wing drama.Zhang Shenqie’s "The Wushe Incident"wrote about the sufferings of the colonies,the crimes of Japanese colonists,the anti-Japanese actions of Taiwan’s ethnic minorities,and the historical trend of mutual assistance and unity between the Han and Aborigines."Roar!China"adapted by Yang Kui,uses Soviet writers’ work against British and American imperialism to express resistance to Japan in a subtle way.On the occasion of 1965,Chen Yingzhen and others created "Du Shuilong",which opened a critique of the neo-colonialism that the United States and Japan used economic and cultural means to invade after the war.In the 1980s,the Japanese right-wing forces exposed their intention to deny war guilt,so cleaning up Japanese colonial history and preventing the resurgence of militarism became the main focus of left-wing drama circles.They introduced the report drama"Roar!Hanaoka"exposes the crimes of the Japanese militarists’ captivity and enslavement of Chinese and Korean labors,and criticizes the actions of Japanese war movies such as "Combined Fleet" disguising"injury perpetrators" as "victims." In the specific field of Taiwan,the theme of anti-Japanese,colonialism and anti-imperialist has been a main axis of Taiwan’s left-wing drama/literary arts throughout the past century.Combing it will not only help to awaken people’s historical memory,but also have important practical significance for criticizing the reality of the pro-Japanese trend of thought in Taiwan.Rebelling against bureaucratic rule and exposing the evils of capitalist society is also a major theme of left-wing drama.In the early days of Taiwan’s recovery,Jian Guoxian wrote "The Wall"directed by Song Fei-wo,which contrasted the disparity between the rich and the poor on both sides of a wall,thus criticizing the damage caused to the poor by the collusion of bureaucrats and profiteers.Chen Dayu,who from the mainland went to Taiwan to carry out the drama,used "Wu Feng"to criticize the government’s acts of oppressing ethnic minorities and undermining national unity.In the 1950s,Zhang Shenqie and Yang Kui used"New Stories" to expose and criticize bureaucratic oppression.After the "removal of the martial law",Wang Molin’s "Murder in the Military History Museum" used a murder incident to examine the distortion of the human spirit caused by authoritarian rule during the"Martial Law" era.Zhong Qiao’s"Opera of Defeating Gold" is a multi-faceted criticism of collusion between politics and business and media chaos."Another Errand" expresses the "wandering" code shared by people from other provinces and foreign workers,and highlights the plight of foreign workers under the globalization of capitalism.The performance of the pursuit of socialist ideals and recognition of "New China" in dramas is the third major theme of Taiwan’s left-wing dramas.Yang Kui’s " Separation of Ox and Plow" used the story of farm brothers to split their families as a metaphor for the cross-strait relations at that time,explaining the harm of the division of brothers and the truth that together can create a happy life together.Yang Kui’s optimistic spirit is manifested in his works as the unremitting pursuit of "light" in the dark.At the same time,"labor" is also an element that constantly appears in his plays."Labor" is one of the core values of socialism.This is why Yang Kui Shows his true qualities as a left-wing writer.The "Diaoyu Movement" broke out in the early 1970s.With the development of the "Diaoyu Movement" to the "Unification Movement",the Diaoyu activists not only introduced films reflecting the achievements of the socialist revolution and construction from the motherland,but also rehearsed dramas,song and dance shows and criticized themselves.The dark rule of the Taiwan authorities reproduced the story of friendly cooperation between the people on both sides of the strait.It showed a very strong "New China" identification.The dark rule of the Taiwan authorities reproduced the story of friendly cooperation between the people on both sides of the strait.It showed a very strong "New China" identification.As a valuable ideological asset in promoting cross-strait reunification,it still plays an important role.In the past 30 years,"Xie Xuehong" has presented a rich character image through interpretation from different angles and various artistic methods due to legendary revolutionary experience.Because of Xie Xuehong’s life activities span both sides of the strait,these works cannot avoid cross-strait relations.Individual authors distorted history and promoted extreme "Taiwan indigenous consciousness",which also led to tit-for-tat writing trying to restore the truth of history,Zhang Kehui’s "Ah!"Xie Xuehong" is his masterpiece,and the left-wing drama can also play its due combat role.The history of Taiwan’s left-wing struggle was obscured or tampered with due to political factors.On the one hand,this cut off the connection between Taiwan’s history and the modern history of the motherland,and on the other hand,it also created a gap in Taiwanese memory.Faced with this double rupture of historical memory,left-wing intellectuals continue to stitch together through historical data mining and artistic creation.The study of the left-wing context in Taiwan from the perspective of drama not only presents the group of figures of left-wing intellectuals trying to transform the society and rushing to and from up and down,but also highlights the importance of drama as an art form in the left-wing ideological movement.