Dissert On Lijianwu's Playwriting In The Period Of Maturity

Lijianwu wrote and recomposed over than 40 plays in his lifetime ,and made a great of contributions to the modern Chinese drama .But the study of his works was insufficient in a long time,and mostly ,the study was always limited in his comedy works and didn't get the overall characteristics of Lijianwu's plays, because of lack of the awareness that regard his works as an entirety. In fact, lijianwu's play involved most of all drama types, and he also created"The Legendary Play", which transformed modern drama using"spirit of the Nanxi". However, most of his works have been ignored, and over 10 recomposed plays of his seldom to be mentioned.From the mid 1930's to 1949 of the 20's century ,was the period of maturity Lijianwu's play. During this period, Lijianwu wrote a large number of excellent plays ,and recomposed many famous foreign dramatists'works included Shakespeare's and Sardou's .Whether the creative plays or the recomposed, displayed the characteristics and the levels of Lijianwu's play. Therefore,I choice the works of this period as the object of my paper. And attempt to explore the success or deficiency of Lijianwu's plays ,by analyzing these specific works.Western literature, especially the French's made a great of influences on Lijianwu, the influences are expressed evidently in his plays. He not only absorbed the useful nutrition from Western dramas, but also try to integrate these distillates with factors of Chinese traditional opera. He try to made the Chinese modern drama have more nationality and localization. In my opinion, in the process of his playwriting, firstly Lijianwu studied from Western drama, and then, paid more attention to the Chinese traditional opera. Above-mentioned had a great relationship with Lijianwu's experience of his life. He have studied western literature in such a long time, so that, in his early works we can see that he was proficient in techniques of western drama craft and he had a deep attainments in Western literary. But as a Chinese playwright, he had an inherent demand that pursued national aesthetic traditions. This kind of demand revealed continuously and automatically in his plays. In addition, Japan aggressed China at that time, in this situation, people were easy to return to the nation's traditional culture, and quested for the national's identity. No wander,The sincere heart to motherland drived Lijianwu return to the traditions.