Theatrical Concept Should Not Be Marginalized

In the 30to40s'drama field besides the formal mainstream drama (traditional drama) there are two non-mainstream drama: The fighting drama growing in the revolutionary period when concerned from ideology is more of politics and"mainstream"compared with the mainstream drama. But the too much propaganda draws away the audience attention and makes them neglect the completely different features. The early Huobaoju,"Qingjinju"and the amateur plays prevailing in the mass and army belong to this kind of form. The purpose of the kind of drama is to serve the politics, and the way to fulfill the aim is based on the situation of the relationship between audience and actors.The second marginization drama is the activity of the educational institution represented by the experiment of rural drama popularization led by Xiongfoxi, and the reason to be neglected is just that it is lack of the fighting spirit of the former kind. But Xiongfoxi's experiment succeeds in having the farmers willingly participate in the performance of drama, and the actors and spectators communicate in different ways to such a degree that partly it does more than the exploration of the western modern drama, say, Environmental Theatre by Richard Schechner.Between the two forms there is the Yingjing drama held by Liubaoluo, which also belongs to fighting drama. But the difference is Baoluo brings out his own theory and put it into practice, based on which his play also has the features of the theatre of front guard. The development of Yingjingju and Wenmingxi's writing have something in common, and the relationship among text, performance and spectator also has something in common with environment theatre, but its controllable flexibility makes it have special feature and historical value.