Communication And Mutual Inspiration Between Chinese And Western Theater

Since 1907 (33 years of Qing Emperor Guangxu) , Chinese students in Chun Liu Community Groups performed《La Dame aux Camellias》(Act III) and " Uncle Tom's Cabin " in Tokyo. So far, China Drama has been through ups and downs century course. At this point, we should not forget that mutual characters and events in the first half of the 20th century . " May 4th " in the future, realism leap for China Plays introduction of the main stream of extraterritorial drama, but in the theatre sphere and the Western Realism deductions to the limit after seeking a breakthrough opportunity. This formed in the direction of Western Drama wrong inverse synchronous, so that the two sides more concerned about each other, as well as their model for the transformation of the arts provides an ideal image.Chinese students were aware of the drawbacks of Chinese Opera, through the introduction of drama ;the establishment of domestic theatre; at home and abroad in the "national drama movement" , exploring new ways to the development of opera. At the same time, Mei Lanfang and others to proceed with the Peking Opera reform, they pushed Chinese Opera to the tuyere wave of cultural intersection collisions. Mei Lanfang was under the guidance of Zhang Pengchun, Respectively to the United States and the Soviet Union in the 1930s, the performances affected and infected with the Western community, such as Brecht and others. Its performing arts become image code that understanding theatre culture of West and East.First half of the 20th century, the exchange of Chinese and Western Drama and inspiration research, reveals its causes and finds its identity, role and impact, will help us stand on cross-cultural perspective, understanding the cultural traditions, understanding cultural systems. the global culture is good for mankind. Also more conducive to a new cultural change in the new century, in order to provide reference to the cultural depth dialogue.