A Study of Thematic Changes in the Performance History of Thunderstorm
Abstract
Thunderstorm is one of the most important theaters in the history of modern Chinese drama. Since its premiere in 1935, the play Thunderstorm has been performed repeatedly. The performance history of Thunderstorm is rich in content because there have been as many as a dozen different versions so far. The theme of Thunderstorm performances has changed with time. The Thunderstorm performances during Republican China and the period of reform and opening up have similar development trends. This paper mainly compares the performance of Thunderstorm in the period of Republican China and reform and opening up and grasps the theme change of the performance history of Thunderstorm from a holistic perspective. The Thunderstorm performances during these two periods both exhibit a popular entertainment trend and pay attention to pursuing human nature liberation. However, they also have differences. During the Republic of China Period, Thunderstorm performances were adapted into social problem dramas that focused on anti-feudalism. Nevertheless, the realism principle in Thunderstorm performances has been challenged after the reform and opening up, and attention is paid to the themes of life and destiny in Thunderstorm. The study of the thematic changes in Thunderstorm is of great significance for investigating the canonization and acceptance history of Thunderstorm performances.
References
- Zheng Shuyue. (2023) Literature and Theater-the Two Poles of Drama. Journal of Literature and Theater, 10, 44-46.
- Zhou Fengqin. (2022) On the Rise and Fall of “New Opera” and the Origin of “Civilized Opera”. Artistic Research, 5, 133-142.
- Chen Dabei. (1933) On Civilized Theater. New Base Semi-Monthly, Vol. 1, No. 2.
- Yang Hansheng. (1985) Selections from Yang Hansheng’s Diary. Sichuan Literature and Art Publishing House, Chengdu, p. 247.
- Situ Ke. (1939) Cao Yu’s Trilogy and Its Performances – “Thunderstorm” “ Sunrise” “ Peking Man”. Chinese Literature and Art, Vol. 1, No. 2.
- Wu Tian. (1935) The Performances of Thunderstorm. Miscellaneous Writings, No. 2.
- 14th edition of Shen Bao, January 10-12, 1936.
- Chen Xi. (2013) Thunderstorm: Unfinished Performance. Journal of Sun Yat-sen University (Social Sciences Edition), 53 (06), 54-62.
- Cao Yu. (1935) The Writing of Thunderstorm. Miscellaneous Writings, No. 2.
- Zheng Yimei. (1981) Recollections of the Premiere of Thunderstorm in Nanjing. People’s Drama, No. 4.
- Hou Kang. (2021) The Chinese Drama Society and the First Complete Performance of Thunderstorm. Literary Studies, 7, 248-255.
- The Capital’s Public Performance of the Drama Thunderstorm. People’s Daily, July 3, 1954.
- Tian Yingzhen. (1989) Re-arranging Thunderstorm with new ideas. Beijing Evening News, November 10, 1989.
- Xia Chun. (2007)Life Clears My Doubts for Me. In: Liu Zhangchun. The Stage Art of Thunderstorm. Chinese Drama Publishing House, Beijing.
- Wang Xiaoying. (1993) Let Thunderstorm Enter a New World. Chinese Drama, 5, 48-52.
- Liu Meimei. (2004) Further Discussion on Respecting Classics - Interview with Gu Wei. Beijing People’s Art Theater, February, 2004.
- Hu Weimin. (1988) Self-transcendence of Directing. Chinese Theater Press, Beijing, p. 3.
- Qiu Huanxing, Xu Anqi. (2020) Prologue and Epilogue Deletion and the Acceptance Study of Thunderstorm. Drama Series of Nanjing University, 2, 12-26.
- Du Jinhua. (2012) Thunderstorm 2.0: A New Wave Theater that Revolutionized Drama?. Modern Youth (Elite Edition), 8, 45.
- Song Baozhen. (2015) Theatrical Imagery and Staging of Thunderstorms. In: Geng Faqi, Tian Benshang, Song Baozhen. Eighty Years of Thunderstorm. Tianjin Ancient Books Publishing House, Tianjin, 40-51.
- Hu Minghua. (2021) Exploration and Innovation in the Performance of Central China’s Drama “Thunderstorm” and “Thunderstorm – After”. Oriental Art, 2, 97-104.
- Fu Lan, Li Yanwu. (2017) Evolutionary Characteristics of Different Stage Performance Versions of the Play Thunderstorm. Contemporary Drama, 4, 14-16.