Drama education, 1922 Winter, Pu Boying, Chen Dabei, etc. A special school for people's art and drama was established in Beijing. Although Pu Boying disapproves of commercial drama, he advocates professional drama, allowing actors to "encourage their artistic specialization with the reward of life". He founded people's art and trained professional and noble dramatists. Although this school was dissolved in 1924, it made a certain contribution to modern formal drama education. 65438-0925, Beijing Academy of Fine Arts was renamed Art College, and drama department was added. The founders are Yu Shangyu, Zhao Taimou and Wen Yiduo. They ran a drama magazine in the supplement of Beijing Morning Post, advocating the "national drama movement". They are different from the total denial of traditional operas since the May 4th Movement. On the contrary, they affirmed the "freehand brushwork" characteristics of old operas, and put forward that "in the construction of national operas, a bridge should be built between" freehand brushwork "and" realism ". However, this view is based on the concept of "pure art", and it is considered that the purpose of acting is "just to show some unnecessary phenomena in daily life", which is an armchair strategist, so there is no achievement in fact. They oppose the view of "living" and think that writing Ibsen-style social drama, "the problem does not exist, and the drama does not exist with it. "When Xiong Foxi taught The Principles of Drama Writing in the Art College, he also advocated pure fun.

In drama creation, the drama at this time is more revealing and ironic. One-act plays are relatively successful, but some of the whole plays are not mature enough in art. Chen Dabei's Madame Youlan is the most important one in the whole play at this time, and its content is to expose bureaucratic families. Ms EULAN SPA01's father Ding Baoyuan is an opportunistic politician. He thinks he has established "the first model family in Beijing". But his son is the illegitimate son of Zhang Sheng, the housekeeper, and Liu Ma, the maid. Zhang Sheng often blackmailed Ding Baoyuan's stepmother Ding Lishi by mastering this secret. Ding Baoyuan's daughter Youlan is a woman who pursues personality liberation. She dared to admit her abandoned half-brother and opposed the family arranged marriage. Finally, the ugly drama of the fake son was exposed, and Li Ding shot himself after shooting Youlan, and the truth of the "model family" was revealed. And Xiong Foxi's "Worry of Youth" exposes the old family in this way, describing the son of Inspector General Jia Zheng having an affair with his father's fourth wife. To say that he heard about this is to say that Wei threatened it. Later, when it was revealed that Jia Zheng tried to kill his fourth wife, she fled the family with Jia's son. It is meaningful to write about family conflicts. It's Xiong Foxi's Patriotism. The script describes the contradiction between Tang Huating, who was originally a revolutionary, and his children and Japanese wife, and reflects ethnic contradictions through family contradictions. Pu Boying's "Moral Turn" describes how a group of people, such as Kang, regarded as a "moral turn" by the gentleman Yi Minsheng, defrauded property and exposed the social shady. When the dialogues in the plays are full of intellectuals, Pu Boying and Chen Dabei can use Beijing spoken language, which is the characteristic of their above two plays. Wang Zhongxian's "Good Son" describes a Shanghai "broker" Lu family, whose mother-in-law and daughter-in-law are fighting against the law, and each of them only wants to enrich their own pockets, which makes the debts of the family unable to be repaid, forcing Lu to embark on the criminal road of selling counterfeit banknotes. The author thinks that "although it describes a family, it is also a microcosm of the Republic of China." These plays do reveal the darkness of society from different aspects, but most of them stay on the surface of life, and the contradictions in the plays are often caused by some accidental factors. For example, in "Ms. Youlan", Ding Sheng's Ben is also a boy, but he changed children with others at the moment. After the communication, the child recovered immediately, but incredibly, he persisted in his mistake until the end. Others failed to dig deep into the root of the dark phenomenon. For example, the crime committed by Lu in Good Son seems to be caused only by the bad relationship between mother and wife, which of course affects the ideological depth of the work. Gu's Cold Rice was once regarded as a realistic middle and lower class painful drama. In the play, Ye worked in a foreign firm for 15 years and was ready to resign because of the anger of foreigners. However, he found that his wife had lost all his savings for more than 65,438+00 years by buying stocks, lottery tickets or playing cards, so he had to give up the idea of resigning and go back to the foreign firm to suffer indignities. In this way, what the script can tell people is that the oppressed have to endure oppression. These plays let people see the depth of the playwright's understanding of life and how important it is for a play to deeply reflect the reality.