New Drama Period: 1906 Inspired by Japanese "New School" drama, students studying in Japan Zeng Xiaogu and Li Shutong organized the Spring Willow Society. 1907 performed La Traviata and Black Slave Xu Tian Lu in Tokyo, Japan. In the same year, Wang Zhongsheng and others organized "Chunyang Society" to perform "Black Slave Record" in Shanghai, which was "the opening of China's drama". This kind of stage play with dialogue as the main means is called new drama, and later it is called civilized drama. In the following 10 years, a number of new operas such as New Art Theatre, Evolution Theatre, Nankai New Theatre and New Drama Club appeared in Shanghai, Beijing, Tianjin, Nanjing, Wuhan and other places, and performances such as Hot Blood and Long Live the Social Clock were warmly welcomed by the public. After the failure of the Revolution of 1911, the new drama gradually declined. The representative figure of this period is Ou Yangyuqian.
American drama hobby period: 19 19 Important figures in the May 4th New Culture Movement, such as Hu Shi, Chen Duxiu and Fu Sinian, paid special attention to the power of new dramas to arouse people's consciousness and praised Ibsen's social dramas. 19 19 Hu Shi's one-act play "Lifelong Event" is the representative of their proposition. At the same time, Chen Dabei, Ou Yangyuqian and others loudly put forward the slogan of "loving American drama"-unprofessional drama, and successively set up drama groups such as People's Drama Club, Heart Drama Club and Nanguo Society. A number of outstanding plays such as Tiger Catching Night, Death of Famous Brand (Tian Han), Three Rebellious Women (Guo Moruo), Patriotism (Xiong Foxi), Bitch (Ou Yangyuqian) and A Bumblebee (Ding Xilin) were born, which laid an important literary foundation for China's plays. From 65438 to 0922, Hong Shen, who studied in the United States and specialized in drama, returned to China to join the Dramatists Association. In view of the bad habits of civilized drama, he boldly reformed the establishment of script, stage discipline and director system, advocated co-acting between men and women, and formed a complete drama art system. From 65438 to 0925, the drama department of Beijing Institute of Art was established, which provided a position for the cultivation of drama talents. The southern art movement led by Tian Han can best reflect the spirit of the emerging drama in the 1920s. From 1924 to 1930, many anti-imperialist and anti-feudal plays were staged successively, and a number of artistic backbones such as Chen Ningqiu, Chen, Zheng, cutie and Wu Zuoren were trained. 1929 ~ 193 1 year, Ou Yangyuqian presided over Guangdong Theatre Research Institute, published Drama magazine and organized dozens of plays such as Roar, China. Ou Yangyuqian, Hong Shen and Tian Han are considered as the founders of China's plays. 1928, Hong Shen creatively translated English drama into "drama" to distinguish it from the stale "new drama", hence the name of China drama.
Left-wing Drama Period: Under the leadership of China * * * Production Party, 1929 established the Shanghai Art Drama Society and put forward the slogan "Proletarian Drama". 193 1 1 year, the China left-wing dramatists' union was established, and since then, China's drama has entered the development stage dominated by the left-wing drama movement. The Left-wing Drama Troupe, headquartered in Shanghai, led the sub-groups in Beiping (now Beijing), Nanjing, Guangzhou and Hangzhou, established more than 50 left-wing drama troupes, and performed a large number of progressive dramas, such as Bloody Clothes, The Ring of Bells, China, Sweet Rice, Song of Rejuvenation, etc., and many others emerged. 1935, Shanghai Amateur Dramatists Association was established to perform Nora, Imperial Envoy, Thunderstorm, Wu Zetian and Taiping Heavenly Kingdom. In the 1940 s, the drama club performed large-scale plays such as "Sai Jinhua", which greatly improved the stage art level. From 1934 to 1937, Cao Yu's famous plays Thunderstorm, Sunrise and Yuan Ye came out. 1933, the first commercial troupe in China, China Travel Service Troupe, was born and persisted for 14 years. From 1932 to 1937, the experiment of farmers' drama in Dingxian County, Hebei Province was a dramatic attempt. "Red Drama" is very active in revolutionary base areas such as Jiangxi, Hubei, Hunan, Guangdong and Fujian. Hundreds of plays, such as February 27th Massacre, August 1st Nanchang Uprising and Our Red Army, greatly inspired the fighting morale of the soldiers and civilians in the base areas. 1935, the National Theatre Academy was established in Nanjing. In the following 14 years, more than 0/000 students were trained, and nearly 0/80 full-length dramas were performed, covering Jiangsu, Hunan, Hubei, Sichuan and other provinces, with a wide and far-reaching influence.
War of Resistance against Japanese Aggression and the War of Liberation: After the outbreak of War of Resistance against Japanese Aggression, China's drama began a stage of great popularization, development and prosperity. 1937 After the July 7th Incident, dramatists staged Defending the Lugou Bridge in Shanghai on August 7th, and quickly formed a 13 national salvation drama team to publicize the war of resistance. 1937 12 3 1 All-China Theatre Anti-Japanese Association was established in Wuhan. In the summer of 1938, under the leadership of the Third Hall of the Political Department of the Military Commission of the National Government, progressive dramatists gathered in Wuhan formed 10 Anti-Japanese Drama Team, 4 Anti-Japanese Propaganda Team, and 1 Children's Drama Troupe, and went to various war zones, and combined with drama groups spontaneously organized by various places and drama performances in anti-Japanese base areas, propaganda performances spread all over the country, forming an unprecedented magnificent situation. 1938 10 the first drama festival staged "the story of the nation" written by Cao Yu and Song Zhi, which was a sensation and was a representative of the drama in this period. After 1939, the focus of drama movement began to shift to the city, and influential professional troupes such as China Viva Troupe, CLP Troupe and Central Youth Drama Club were established in Chongqing, with theatrical performances. A number of outstanding plays have been produced, such as One Year (Xia Yan), Country First (Lao She and Song Zhi), Night on the Beach (Yuling) and Fog in Chongqing (Song Zhi). 194 1 The China Dramatic Art Club and 1943' s China Dramatic Art Club have brought new features to commercial performances. From 194 1 to 1945, various troupes in Chongqing performed Qu Yuan (Guo Moruo), Beijingers (Cao Yu), Spring and Autumn of the Kingdom (Yang Hansheng), Fascist Fungi () and Drama Spring and Autumn (,Yu Ling, Song from February to April,/kloc-0. A large number of art groups and propaganda teams, such as the Drama Department of Lu Xun College of Art, Yan 'an Youth Art Theatre and Northwest Field Service Corps, were set up, and dramas such as Liu Duichang (acted the role) and Comrade, You are going the wrong way (Yao) were put forward. ) and Li Guorui (Du Feng) are active in the countryside and the army, highlighting the fighting tradition of China's drama. During the war of liberation, drama activities were at a low ebb. Before and after Tomb-Sweeping Day (Mao Dun), Sales Map (Chen) and Second Road (Tian Han) are important achievements in this period.
People's Republic of China (PRC): The Chinese Dramatists Association (later renamed Chinese Dramatists Association) was established in July 1949, and China drama began a new stage of development. The Party and the government attach great importance to the development of drama, and have successively established China Youth Art Theatre, Beijing People's Art Theatre, Central Academy of Drama, Shanghai Theatre Academy, China People's Liberation Army General Political Department Drama Troupe and Professional Drama Troupe in various provinces, autonomous regions and military regions. Excellent plays such as Longxugou, Teahouse (Laoshe), Cai Wenji (Guo Moruo), Guan Hanqing (Tian Han), Wanshui Qian Shan (Chen) and Malanhua (Ren Deyao) have emerged in large numbers. The Teahouse directed by Jiao Juyin embodies the nationalization pursuit of drama, while The Bold Mother and Her Children directed by Huang introduces Brecht's drama thoughts. In ethnic minority areas with weak cultural foundation, drama performances by Uighurs, Mongolians, Koreans and Tibetans have appeared since 1950s, which has expanded the field of drama art. With the discussion and implementation of the policy of "letting a hundred flowers blossom" in the literary and art circles, 1962 has seen outstanding plays such as Sentinel under Neon Lights (played by Shen Ximeng) and Young Generation (played by Chen Yun). During the Cultural Revolution, the artistic practice of China's plays was lacking, and the audience was isolated. After the Third Plenary Session of the 11th CPC Central Committee, China's drama entered a new period of development. He made extensive and in-depth explorations in breaking through the limitations of the old stage, innovating the concept of drama and enriching the artistic expression of drama. Attempts in drama creation, such as no-drama structure, idealized image-building, plot and vague theme jumping in time and space, use of masks, neutral costumes, geometric scenery props, laser lighting, breaking the fourth wall, shortening the distance from the audience, and all-round audience, have attracted the attention of drama theorists. A discussion on the innovation of drama concept and form has played a good role in the development of China's drama. In the new era, drama is also more open. Since 1986, Shakespeare Drama Festival and O 'Neill Drama Festival have been successfully held. Teahouse by Peking man has been performed in Europe, America, Japan and Hong Kong for many times, and King Oedipus by Central Academy of Drama has been a great success, which is a good start for China's drama to go global.