Wu laishen
Cao Yu's play Thunderstorm is one of the most successful works in China's modern drama. With outstanding artistic talent, the author profoundly depicts the inevitable collapse of the old system and strongly exposes and criticizes the declining and dying class. Thunderstorm is a work with exquisite artistic structure, and its dramatic conflicts are very concentrated, which is fully reflected in the second act of the play.
The second act of Thunderstorm embodies the 30-year hatred between Lu and Zhou. The first half of the second act is the "Joseph" between Zhou Puyuan and Shi Ping. On the stage, Shi Ping recognized Zhou Puyuan, but Zhou Puyuan didn't recognize Shi Ping. As a result, this bright and dark relationship suddenly caught the reader's heart. From Zhou Puyuan's condescending and condescending language, as well as his "thoughtful" and "heartbroken" expressions when he misses Shi Ping, it is not difficult to see that he is a "respected person" with high status and power, and seems to be a affectionate figure. In Shi Ping's words, we can also find that although she has seen through Zhou Puyuan, there seems to be no conflict between the two sides. However, Zhou Puyuan's feelings are hypocritical after all. When he found that Shi Ping was still alive, which would probably affect his reputation and status, he initially sharply scolded Shi Ping: "What are you doing here?" "Who sent you?" Then he bribed Shi Ping with a huge check, trying to impress Shi Ping with what he thought was omnipotent money. Zhou Puyuan's hypocritical and cold face was exposed at this point. However, Shi Ping has backbone. Without looking at it, she tore the check into pieces and said, "You can't use money to calculate my sufferings over the years." Tell Zhou Puyuan: Money can't make up for sin! Show contempt for bourgeois money supremacy.
The conflict between Shi Ping and Shi Ping reflects that the insulted and injured stork φ Nanlu is jealous of the screen φ mu of atmosphere, argon and bran. Stir-fry 5 oysters. ? Iron ring? What happened to the private quasi-team? Quasi-pocket? Hey?
Lu Dahai stood in front of Zhou Puyuan, whose father and son didn't know each other. Because of the immediate interests directly threatened by land and sea and the fundamental interests of this feudal bourgeois representative. Zhou Puyuan and Lu Dahai did not and could not have a father-son relationship; Only repressed desires and class hatred. Fraud is no good, so I have to tear off my hypocrisy and scold Lu Dahai: "You are not qualified to talk to me now-you have been fired from the mine." Lu Dahai was full of class hatred and directly exposed Zhou Puyuan: "You let the police kill many people in the mine!" "You built the river bridge and deliberately called the river bank out of danger!" "You deliberately drowned 2200 coolies!" "What you sent is the ambiguous wealth of your children and grandchildren!" In the fierce and tense drama conflict, the brief dialogue between the characters let us see the viciousness of Zhou Puyuan's means of suppressing workers' strikes and the evil of family history; Saw his cunning and cruel face; It also shows us Lu Dahai's firm stance and indomitable spirit of struggle.
This scene is full of inevitable conflicts between characters. In a specific environment, the contradictions between the past and the present meet and are coherent. In this way, the characters are "established", and the changes in the past 30 years are written very compactly, showing the complicated contradictions and conflicts between the two generations. Fundamentally speaking, it reflects the corruption and evil of the upper class in semi-feudal and semi-colonial China. Thunderstorm, an immortal masterpiece of realism, accuses and exposes the evil nature of the bourgeoisie in the past; Now, it still plays a role in educating young people about the dark system. Its exquisite artistic conception is also being borrowed and imitated by many drama creators.
Postscript of practice
"Drama conflict" is relatively new to me. I have never studied hard before. Learning Thunderstorm is the beginning of my exploration and understanding of this problem.
After watching Thunderstorm several times, I still can't tell its profound meaning, but I was attracted by the content and plot in the play and realized that the contradictions among many characters in the play were so complicated. How to understand "dramatic conflict" from such complicated content? So I went to check the review materials about Thunderstorm (especially its second act) and saw the incisive opinions of many experts who studied Thunderstorm. I gradually understand that the so-called drama conflict is the contradiction between those characters in the play. So I delved into the text again to analyze how many contradictions and conflicts there are, what are the roots of these contradictions and conflicts, how they developed, and further study which contradictions and conflicts are the main ones, and how the author expresses the theme through these contradictions and conflicts.
In this way, with the help of theoretical guidance and repeated reading of the text, I initially learned some methods to analyze "dramatic conflict" and wrote the exercise "dramatic conflict".
Brief analysis
This article talks about the dramatic conflict in the second act of Thunderstorm. The central argument is clear, and we can select materials and assemble manuscripts around the dramatic conflict in the second act of Thunderstorm. They can think independently, use the language of characters to analyze the contradictions between the main characters and characters, describe directly, focus on discussion, pay attention to transition and care, and have a complete structure.
On the lyricism of Cao Yu's drama language
Abstract: Cao Yu built a mansion of his plays and poems with the lyricism of his dramatic language. Infiltrate characters' thoughts and feelings in psychological language and lyric monologues; Render lyrical atmosphere in the creation of artistic conception; Mobilizing a variety of language skills to enhance the poetic beauty of his drama is a remarkable feature of the lyricism of his drama language.
Keywords: psychological monologue, lyrical artistic conception, poetic language
Cao Yu's plays have not only won the exquisiteness of Shakespeare and Chekhov's dramatic art, but also the elegance and poetic richness of China's traditional operas and classical poems. This poem is fundamentally derived from his colorful and subtle dramatic language, as well as the profound artistic conception and poetic atmosphere created by this language. So Mr. Qian Gurong said, "Cao Yu is essentially a poet." The characteristics of "poet" make this writer temper his dramatic language very lyrical.
one
Drama shapes the stage image through people's language and actions, and language plays a leading role. Gorky said: "The script requires every character in the play to express his own characteristics with his own words and actions" and "the characters in the play are only created by their lines". ② Many typical and poetic characters in Cao Yu's plays are created by lyrical dramatic language. "There is a picture in the poem", Cao goes deep into the soul world of the characters and is good at uncovering the mysteries of the characters' hearts with artistic language. It is a prominent feature of the lyricism of his drama language to infiltrate the meticulous, thinking, feeling and tortuous emotional will of the characters in his psychological language and lyric monologues.
Thunderstorm was written as a poem, and many poems in it accurately expressed the characters' personality and expressed their inner feelings. Fan Yi's famous monologue in the second act is simply a lyric poem full of resentment and longing:
"It's very hot and boring, and it's really impossible to live here. I hope I become a crater today and burn everything at once. At that time, I will fall into the glacier and freeze to ashes. I will only burn it once in my life, which is enough. My past is over, and my hopes are probably dashed. Well, I'm ready for everything. Come on, people who hate me, come on, people who disappoint me, people who envy me. I am waiting for you. " Fan Yi's hardship, anxiety, depression and boredom in the cruel well of the universe, and Yin Zhi's fiery personality of "loving you like fire" and "hating you like fire" are also integrated in this poem.
What Wang Zhaojun showed us was "quiet and gentle" and "very stubborn" character. This girl with ideals and longing for a quiet life spent three years in a lonely palace, full of endless grief and sorrow, and full of worries about her life and destiny. In the Diaolan Gallery, listening to oriole singing softly, leaning against the blue sky outside the wall, she confided: Mom, why did you give birth to me? Do you want me to stay with the green palace wall? This is a pine tree, weeping willows, looking at the constant railing hanging down? Why? KINOMOTO SAKURA? Arch tomb? Bad and dangerous? What happened to bullying? What's wrong with it? Would you like to put down the salt? Hiccup and shake the bed? Lu Wei? By who? Collapse? Home? Cough bomb? Training cheese? What is the company's frequency mode? What happened to the ring? Remote? Spring? Bald camel? Lies "monologue, pure soul breath. (3) Here, a young woman hates the cold palace wall and hopes to spread her wings and fly away. In the meantime, a series of coordinate questions and lyrical melodious sentences have formed a distinct poetic rhythm, making this line a poem without branches.
On their wedding night, Jui-chueh and Chueh-hsin were all in turmoil. The noisy people have dispersed, and there are only their own loneliness and sadness. The groom stood at the window, the moonlight was bright, the plum blossoms were white, the lake was sparkling, and the cold trees were sparse, reminding him of his lover Mei: "Alas, Mei, why isn't this person you?" However, he regards the bride who needs comfort and looks forward to gentleness as a stranger and thinks that "there is really nothing satisfactory to live;" What you want is whether you get it or not.