A Comparison Of The Realistic Spirit Of Tian Han And Xia Yan's Drama Creation In The 30s And 40s Of The 20th Century

In the history of modern Chinese drama,Tian Han and Xia Yan are both playful and unique characters.In Tian Han's 40-plus years of drama production,he has been immersed in politics and literature.He has experienced the "dualism" of politics and literature and the tortuous creative process and thought process of "unitarianism" of literature serving politics.Although Xia Yan has always attached importance to the social function of literature,he has worked hard in realist drama production,but he has also experienced the complex course of the drama's artistic and real nature.However,after a long period of exploration and precipitation,both of them have each moved toward the creative process of the perfect fusion of art and politics.This article attempts to compare the realistic spirit of Tian Han and Xia Yan's dramatic creations in the 1930 s and 1940 s,highlights the similarities and uniqueness of the two in the creation of the drama,and sees the success and failure of the two-play creation.This article consists of three parts: introduction,text,and conclusion.The introduction part has combed and summarized the research status of Tian Han and Xia Yan's plays and activities.Thus,the innovation and research significance of this article are obtained.The body part consists of five chapters:The first chapter defines "realism" and distinguishes between "social authenticity" and "realistic pertinence," "human nature," and "class nature." The works with "realistic spirit" are in line with the social reality of the times and show concern and respect for "people".The second chapter analyzes the artistic origins of Tian Han and Xia Yan's dramatic works from the perspective of personal experience and social background.Tian Han's hard life in the early years,his emotional experience in twists and turns,and his influence during his stay in Japan led Tian Han's dramatic creations to reflect the reality of the theatre's observance of the spirit.However,Xia Yan was influenced by the poor life in his early years and the left-wing literary trend of thought in Japan.Therefore,his drama has always been cultivated in the realm of reality.The third chapter mainly discusses the pursuit of "realistic spirit" presented by Tian Han and Xia Yan under the influence of left-wing radical ideological trends.Tian Han's play presents a kind of revolutionary carnival,with the theme of worker and peasant class struggle and national liberation movement as the theme of his creation.Xia Yan focuses on the social darkness outside the national liberation movement.Tian Han-do expresses the person of class nature,and Xia Yan creates the social person,and the character presents individualized characteristics.But overall,during this period,their plays all showed a lack of art and a plot pattern,which presented a “distortion”that violated “realistic spirit”.The fourth chapter discusses the realistic pursuit of Tian Han and Xia Yan's plays under the War of Resistance Against Japan.In this period,they can all extricate themselves from the radical vortex to create a dramatic work that integrates art and reality.This chapter starts from theatrical themes,theatrical characters,plot structure,and theatrical atmosphere to see the realistic pursuit of theatrical creation.Tian Han's plays,based on reality,show a certain degree of return to their previous romance.Xia Yan's play maintains the artistic characteristics of reality and life.The fifth chapter discusses the artistic style of Tian Han and Xia Yan's drama in the 1930 s and 1940 s.Tian Han's drama is filled with poet's sentiment while presenting reality.Xia Yan's plays show a kind of sadness belonging to the revolutionary.On the basis of the full text,the conclusion summarizes the core ideas of this article.Point out the significance of the comparative study of Tian Han and Xia Yan,and put forward the deficiencies of this article.