The drama created by Cao Yu and premiered in 1938 is

byCao YuThe play that was first performed in 1938 was ".Wilderness

Through a tragic story of revenge fate, "Wilderness" profoundly shows the writer's confusion about the "dilemma of life" and his philosophical reflections on the mysterious universe. In order to convey this understanding dramatically, "The Field" draws on the artistic means of Western expressionism, refers to Eugene O'Neill's play "Emperor Jones", and combines the appreciation habits of the nation to successfully explore the narrative mode of the dramatic text.

Spin-offs

In addition, Chongqing Sichuan Theater has focused on creating one of the high-quality plays "Gold" in recent years

Adapted from Mr. Cao Yu's famous play "The Wilderness", on the basis of following the spirit of the original work, the necessary adjustments have been made, with Jinzi's love, hatred, love and hate as the main line, and the original "revenge play" has been adapted into an "inner drama", highlighting the complex inner conflict and pursuit of a better life in the whirlpool.

A strong desire.

Created by Cao Yu and premiered in 1938, The Wilderness is the only drama by Cao Yu that depicts rural life, and the style is very different from any other work, it tells a story of revenge, and there is a lot of profound content in it.

The drama "Wilderness" is adapted from Mr. Cao Yu's classic masterpiece "Wilderness", which is a classic masterpiece by Mr. Cao Yu, the most outstanding drama master in the history of modern Chinese literature. Written in 1937, this classic is the only work by Mr. Cao Yu that depicts rural China, and its style is obviously different from his other masterpieces, such as "Thunderstorm", "Sunrise", and "Pekingese". This work has become different from realism.

This seemingly simple tale of revenge contains broad and profound character emotions and shows complex and distinct characters: it not only exposes the darkness of feudal society, shows the oppressed and devastated peasants' yearning for a better life, but also deeply explores the complex and multifaceted nature of human nature.

The play he wrote and premiered in 1938 was The Field.

It is also the only drama of Cao Yu that depicts rural life, and the style is very different from any other work, it tells a story of revenge, and there is a lot of profound content in it.

The story of "The Wilderness" is in the context of a series of bloody feuds: Qiu Hu's father, Qiu Rong, was buried alive by the bully landlord Jiao Yanwang, who had been the commander of the warlord company, the Qiu family's land was seized, the Qiu family's house was burned down, Qiu Hu's sister was sent to a brothel and died tragically, Qiu Hu's fiancée Jin Zi was also forcibly occupied by Jiao Daxing, the son of the Jiao family, and was "filled in the house", and Qiu Hu himself was also thrown into prison.

On the field, Qiu Hu, who was shackled, jumped out of the prisoner car. He smashed the shackles and prepared to seek revenge on King Jiaoyan, who killed his father, but found that King Jiaoyan was dead, and his former lover Jin Zi was also married to King Jiaoyan's son, his friend Daxing. Daxing loves gold but is afraid of his mother, and the blind Jiao's mother is ruthless and extremely vicious to gold.

Qiu Hu's sudden appearance made Jiao's mother very uneasy.

Cao Yu is the most outstanding pioneer in the history of modern Chinese drama, the founder of Chinese drama, and he laid the foundation for the development of Chinese drama from its introduction to maturity. Modern drama, as a transplanted art variety, is not too late to start in new literature, and has been promoting the development of drama through the active efforts of the four founders of Hu Shi, Tian Han, Hong Shen and Ouyang Yuqian. The development of modern drama has not been highly recognized, and the true charm of drama has not been truly felt. With the advent of Cao, "Thunderstorm" and "Sunrise", Chinese readers and audiences were really shocked and overwhelmed by the drama, and the real maturity of modern Chinese drama began after Cao Yu's plays came out.

These two works established Cao's place in the history of literature in one fell swoop. Cao Yu's drama creation has formed its own unique style from many aspects in terms of artistic structure, character image, and language form, which shows the value of modern Chinese drama. He is the most Chinese, but also the least Chinese, he understands the performance methods of traditional Chinese drama, and he expresses a typical Chinese traditional, Chinese-style plot, which is the most Chinese.

Because he understands that drama is a foreign drama, it has its characteristics to understand, and it is the most unChinese because it focuses on language and uses character dialogues to express the plot. Cao was the first person to introduce Chinese drama into Chinese drama from both theoretical and practical aspects. It fully shows the power of tragedy, and achieves Chinese drama in both stage and theory, and it is the peak as soon as he appears, and his existence exists for the sake of drama.

Structurally, life is dramatized and conflicted, and he is good at using chance and coincidence to construct fierce dramatic conflicts, implying necessity in accidents, implying necessity in coincidences, and trying to grasp fate and the difficulty of grasping fate.

It is typical and rich in the shaping of characters; In terms of structure, it is compact and concise, the plot is tense and tortuous, the contradictions and conflicts are complex and sharp, the language is concise and accurate, full of drama, and individualized In the field of drama, it profoundly exposes the corruption and darkness of the semi-feudal and semi-colonial old China The fusion of Chinese and Western techniques, such as the use of the Trinity Law to push modern Chinese drama to maturity.

Because Cao Yu was not mature enough before.

Drama "Thunderstorm" Drama in four acts, 1933.

First published in Literary Quarterly, Vol. 1, No. 3, July 1934.

Cao Yu's unique work lies in his concern with "human" nature, when people are still concerned about the poverty of material and the weakness of the state at the metaphysical level, he quietly shoulders a dual mission: while undertaking the important task of enlightenment, he also looks at all living beings with a profound gaze, paying attention to their turbulent inner world. It can even be said that Cao Yu is one of the most concerned about the situation of "people" among modern Chinese writers, and he uses women's breaking free from traditional moral concepts in his plays to highlight the fragile side of "human" nature.

The language of Cao Yu's drama is full of spiritual action and lyricism. The characters in "Thunderstorm" and "The Wilderness" are more aggressive because they have a deep grudge, and the huge impact of that emotion presents a tense and agitated rich style, and the characters in "Pekingese" have a more concise and concise language, with a euphemistic and profound lyrical poetry. The upbringing of the characters in the play.

Identity. The characteristics of the conflict with the drama determine that the dramatic language contains sharp inner action and lyricism in the obscure twists and turns. In the shaping of Zeng Wen's image, Cao Yu's language art has developed again.

He tends to use only one or two words. A simple sentence, or even a few modal words, to express the complex feelings and inner actions of the characters, and to use silent language, that is, pauses, to lyricalize. The poetic language of "Pekingese" is simple and subtle.

The special monk who wants to talk about the rest is connected with the concise and subtle characteristics of the lyrical language of China's classical poetry. All these make Cao Yu's dramatic language contain rich subtexts.