<h1 class="pgc-h-arrow-right" data-track="1" > literary features</h1>
<h1 class="pgc-h-arrow-right" data-track="2" > dramatic structure</h1>
Cao Yu contradictions and conflicts are the core of Cao Yu's drama structure, and the structural settings of Cao Yu's early dramas closely revolve around contradictions and conflicts, and conflicts are changeable and suitable for drama. Under the conflict of changeable drama, Cao Yu's early plays have a common spiritual essence, that is, praise for the primitive wildness. As depicted in "The Wilderness", the tiger runs in the primeval forest, "the earth breathes softly, and the giant tree is still so serious and sinisterly standing in the middle."
However, the praise of the primitive wildness faded away in Cao Yu's later plays, and dramatic conflicts were also lacking. The overall structural model of his plays is composed of a locked world and a new world that escapes from the side. Cao Yu uses "home" as an expression of the locked world, and "leaving" as a means to get out of the locked world and find a new world.
The development process of its early play structure model is the process of the new world gradually overcoming the locked world, this process is vividly reflected in the creation process from "Thunderstorm" to "Beijinger", "Thunderstorm" is a closed masterpiece, and then "Sunrise" and "Wilderness" begin to be reflected in the gap of the closed world to find a new world, with the collapse of the locked world, the new world becomes a rich structure model.
At the same time, Cao Yu is good at using dramatic plots, and plot is an important factor in the structure of drama. The conception of the play comes mainly from the recombination of the materials and impressions of life, but the use, reconstruction and re-creation of the inherent drama plot is also an important source of the concept of the play. Many of the plots of Cao Yu's plays come from the use and reconstruction of Chinese and foreign drama plots.
The use of drama plots is a major feature of Cao Yu's drama structure. The poeticization of the structure of the play is another major feature of Cao Yu's drama. The pursuit of poetry is the development direction of modern Chinese drama, Cao Yu once said that "Beijinger" was written by him as a poem, and another play "Thunderstorm", although not intentional, still has a strong poetic meaning, which makes the environmental atmosphere description of "Thunderstorm" appear extremely depressed but very meaningful. Immersed in traditional Chinese culture and learned from Western drama, Cao Yu paid attention to the combination of poetry and drama and achieved high achievements. The poeticization of the structure of Cao Yu's plays is mainly reflected in language and dramatic situations.
<h1 class="pgc-h-arrow-right" data-track="4" > language style</h1>
Cao Yu's dramatic language is very distinctive, so that he can go deep into the inner world of the people in the play in dealing with the drama conflict, or show the spiritual confrontation between the characters and the characters, or portray the inner self-war of the people in the play. Superficial disputes and external conflicts all contain the inner battles of the people in the play. All external conflicts, debates and scenes of daily life are designed to brew, stimulate and express inner conflicts.
The distinctive personality of the language is a major feature of excellent drama, and it is also a major feature of Cao Yu's drama, and the personalized language of Cao Yu's characters is very prominent. For example, Li Shiqing in "Sunrise": "You are simply a big waste", this world is not prepared for people like you. The few figures fully exposed Li Shiqing's sinister and despicable, cruel and ruthless, and shameless ideological character. Such lines in "Sunrise", which are almost not particularly difficult to speak, are easy to understand and concise and profound. Moreover, the lines are full of subtle pauses and omissions, so that the audience can fully enter the scene created by the lines as the plot develops.
The action of the dramatic language refers to the fact that the characters in the play not only show that they are speaking, but also show the psychological activities, thoughts and feelings of the characters themselves, which are combined with gestures, expressions, and physical actions, which promote the development of the plot. And Cao Yu's language also happens to have an infectious action, such as the depiction of the illusion of Qiu Hu escaping in the forest in the third act of "The Wilderness", Cao Yu uniquely shows the inner tragic conflict of Qiu Hu, recreating the various injustices he suffered, he struggles desperately under the entanglement of various hallucinations, and the will to resist is becoming more and more tenacious. In addition, the rich subtext is also Cao Yu's usual technique, in "Thunderstorm", excellent subtext abounds as follows: "Are you ready?" when the sea hits Zhou Ping. "Is it that you are ready to run?" Or are you ready to be beaten?
Cao Yu's language is also lyrical and poetic. Cao Yu used some poetic language techniques such as metaphor, symbolism, and subtlety in his creation, which made his theatrical language have a strong lyricism. In the script, Cao Yu likes to give a specific description of the appearance, personality and life of the characters he depicts, and to explain and depict the scenes of the characters' lives in detail. This language is like narrative poetry, with a strong lyricism. That poetry-like language has a strong lyricism, profound meaning, thought-provoking, intriguing, and achieves the artistic effect of blending scenes.
Cao Yu is by no means to write the character lines in isolation and static, but to let the characters speak immersively, and closely associate the lines that portray the inner activities of the characters with the stage effects and the depiction of the set, resulting in a strong dramatic effect. "Thunderstorm" was written as a poem, and many of its lines accurately showed the character's personality and expressed the inner emotions of the characters. Fangyi is a bourgeois woman after May Fourth, intelligent and beautiful, with the demand for freedom and love; but willful and fragile, passionate and lonely, mentally tortured, eager to get rid of her situation and only succumb to this situation, as the author puts it, she fell into "a cruel well".
The famous monologue in the second act is simply a song full of resentment and longing: it is extremely hot, it is extremely stuffy, and it is really impossible to live here anymore. I wish I had become the mouth of a volcano today, and I would have burned everything once, and then I would have fallen into the glacier again, frozen to ashes, and burned only once in my life, and that would be enough. My past is over, and hopefully it's dead too. Well, I'm ready for everything, come, those who hate me, come, those who disappoint me, those who call me jealous, come, I'm waiting for you. The hardships and anxiety, depression and boredom of prosperity in the "cruel well of the universe", the fiery personality of "loving you like a fire" and "hating you like a fire" are also cast in this poem.
<h1 class="pgc-h-arrow-right" data-track="9" > personal impact</h1>
<h1 class="pgc-h-arrow-right" data-track="10" > literary and artistic influence</h1>
Cao Yu has made great achievements in applying the writing techniques of modern European drama to Chinese drama creation and expressing the reality of Chinese society; in shaping distinct and unique characters, especially female figures; in making the script full of passion and poetry, especially in the construction of tragic art; in processing the spoken language of life into a literary language, making the art of dialogue perfect, and in making the script both readable and performable. The appearance of his "Thunderstorm" shows that China has the first work that can be compared with foreign classic dramas.
Cao Yu's works are not only continuously published and staged in China, welcomed by readers and audiences, some plays have been translated into Japanese, Russian, English and other languages for publication, and have been staged in many countries, but also by foreign readers and audiences, and thus have a profound impact at home and abroad.
Cao Yu's classic plays such as "Thunderstorm", "Sunrise", "Wilderness", "Beijinger", "Home" and so on have established the art of modern Chinese drama theater and taken root in Chinese audiences, so that China's modern drama has matured. Cao Yu is not only the founder of modern drama in the true sense, but also a peak of modern drama art, his plays have influenced and trained several generations of Chinese playwrights, directors and actors, and have left their mark on the overall appearance of modern Chinese drama.
<h1 class="pgc-h-arrow-right" data-track="14" > educational impact</h1>
As an outstanding theater educator, Cao Yu has made immortal contributions to promoting the prosperity and development of China's literary and artistic undertakings and theater undertakings. From 1936 to 1941, Cao Yu taught at china's first national drama school for 6 years, training a group of drama professionals for China. After liberation, Cao Yu served as the head of the Central Academy of Drama for a long time, and has always been concerned about the education and construction of Chinese opera, and enthusiastically encourages and supports the pursuit and innovation of art students.