The Research Of Drama In The Occupied Regions During The Anti-Japanese War

Limited by special social and cultural environment, the drama in the occupied regions was obliged to take shelter from commercial mechanism. It had to fully respect the citizens'appreciation habits in aspects of subject choosing and structure establishment, and collaborate with traditional opera.Excellent dramatists didn't give up their literature belief in the commercialization tide, but rather constantly made effort in the seek of drama nationality and modernity. They described reliably the national life, thoughts and emotions, characters and souls. They rediscovered the aesthetic value of traditional culture and put it to use in a creative way. They inherited the spirit of the May 4th Movement, aroused people's subject consciousness, analyzed and criticized the national character which became more prominent day by day.Therefore, the drama in the occupied regions obtained special literature value, which became a necessary part of the modern literature history, also an immortal spiritual carrier above the ashes of war.The article contains five chapters with an introduction. The introduction chapter makes a brief introduction and evaluation to the drama in the occupied regions, as well as some analyses on the history and current status.Chapter 1 mainly describes the ecological environment of the drama in the occupied regions. It is divided into two parts. The first one introduces the social environment, including the invaders'cultural policies, people's spiritual demands in the occupied regions, and the squeeze by entertainment forms like Beijing Opera and film. The second one mainly seeks the spiritual world of the dramatists in the occupied regions, under high political pressure and embarrassment.Chapter 2 discusses the reasons and manifestations for the commercialism of the drama in the occupied regions. It contains two parts. The first analyzes the reasons for the emergence of the commercial mechanism in the occupied regions, and the asylum by which for drama and dramatists. The second analyzes the trend of populace of the drama in the occupied regions, including subject choosing, design of plots, lopsidedness for the comedy characteristics in the aesthetic taste, grafting of the traditional opera. Chapter 3 discusses the reasons and manifestations for the seek of drama nationality in the occupied regions. It contains two parts. The first part analyzes the internal and external reasons for the seek of nationality from aspects like environment of times, national psychology, dramatists'traditional cultural background. The second part discusses the unfolds by the drama in the occupied regions to national life, sentiment, and character, and the heritage to national aesthetic spirit and art principles.Chapter 4 discusses the modernity formation of the drama in the occupied regions. It also contains two parts. The first part analyzes the nourishment to the drama modernity by professional opera troupes, including helping drama get rid of the control of the cliques and get some independence, also the impulse for drama to break down the binary opposition art view of the populace and the elite. The second part discusses the winding between the enlightenment modernity and aesthetic modernity in the drama of the occupied regions.Chapter 5 summarizes the article. The drama in the occupied regions is evaluated integrally. The ugliness of the theatrical circles is criticized, while the literary achievement and special value is affirmed. Also the position of which in the Chinese modern drama development history and even in the modern literary history is evaluated.