The Research Of Rear Area Drama During The Anti-Japanese War

Drama was the most mature and accomplished literary style during The Anti-Japanese War period. It'creation and performance reached a peak no matter from quality or quantity. As an important part of anti-Japanese period drama, rear area dramas displayed diverse styles and development, and there came up with a large number of influential dramas. This paper tries to grasp the influences of the unique cultural ecology brought to drama development and writer creation from macroscopic. Analyses how the drama "self-discipline" under the dual function of political and market. Discusses the way rear area dramas explored to pursuit "sinicization", which was different from the liberated areas and in the Japanese-occupied areasThis paper consists of introduction, conclusion, and three chapters:The introduction definite and differentiates some important concept of the research object. Meanwhile, combs the history of rear area dramas.Chapter one discusses the creation style under the unique cultural ecology, which is divided into two parts:The first part analyses the unique cultural ecology of rear area and its influences on the development of drama. The second part discusses creation style of rear area dramatist from survival circumstances change and identity change, and the influences that the two changes brought to drama.Chapter two analyses rear area dramas'development under the influences of politics and market, which consists of three parts:The first part discusses the influence of politic, mainly from the political thinking and battles for drama between Kuomintang and Communist party. Meticulously display political factors'influences on the drama through Chen Quan's "wild roses storm". The second part discusses the influence of market, which made the rear area dramas show the characteristics of regression civil society. The third part discusses the dramas' seeking for "self-discipline" under the resultant force of political and market. Mainly analyses the relationship among drama, political and market, which was full of tension, mutual checks and promotion. It is this special entanglements relation that made rear area dramas displays diverse styles and an inclusive pursuit.Chapter three analyses rear area drama's exploration of "sinicization", which consists of two parts. The first part reveals the inner quality of rear area dramas:based on traditional. Mainly through the digging of national spirit and reference of national forms. Contrasts the different understanding between the liberated areas and rear areas. Because of this, rear area dramas shows different style with the liberated areas. The second part explores the rear area dramas' persistent pursue:reflects modern consciousness. Separately from the time spirit and strong "national first" feelings, self-conscious introspection consciousness and "die for sound" critical spirit, the attention of "person" three aspects, grasp the rear area dramas' unique charm through analyzing and interpreting specific works. The national traditional characteristics dogged from modern view and the modern character revealed from the national horizon made the rear area dramas in this period won spiritual power to face reality and future.The Conclusion generalizes the whole features of rear area dramas and their achievements, objectively admits its shortcomings, and Points out that standing in today's position we should not expect things to be perfect, but cherish the wealth predecessors left for us.