A Study Of Brecht’s Dramatic Aesthetics Theory

Bertolt Brecht’s plays are popular dramas of philosophy,with profound philosophy on the one hand and aesthetic appreciation on the other.He and his theory of drama appeared in the posture of rebelling against tradition,standing on the standpoint of history and people,pointing at the dark and decayed social reality.The main content of this paper is divided into three chapters: The first chapter discusses the origin of Brecht’s drama aesthetics theory,which has two sources,one is philosophical source,the other is aesthetic source.Philosophy comes from German enlightenment tradition and Marxist philosophy.Aesthetics comes from the dual role of western classical drama and Chinese classical opera,which laid a foundation for the birth of Brecht’s drama aesthetics theory.The second chapter is the main content of Brecht’s drama aesthetics theory.Firstly,it is Brecht’s drama view.On the one hand,Brecht’s drama is a popular drama of philosophy;on the other hand,Brecht’s drama takes both philosophy and entertainment into account,and insists on creating popular drama works for the people.The second part is the theory of defamiliarization and the use and effect of defamiliarization techniques in the performance of actors.The third chapter is the influence of Brecht’s dramatic aesthetics theory on China,which is divided into three historical stages.In these three historical stages,there are three representative dramatists respectively: Huang Zuolin,Gao Xingjian and Meng Jinghui.They borrowed Brecht’s dramatic aesthetics theory and "Sinicized" it respectively.Brecht broke the dramatic mode of illusion art and created a new non-Aristotelian road.Just because of this,Brecht’s dramatic aesthetic theory can leave a strong mark in the historical flood.