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The Study about Female Playwrights in 1980s

Author: ZhouJunJie
Tutor: ZhangXiTian
School: Henan Normal
Course: Contemporary Chinese Literature
Keywords: awareness of women marriage tragedy home
CLC: I207.3
Type: Master's thesis
Year: 2011
Downloads: 56
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Abstract

Since 1980s, China has begun entering into a new historical period. The drama in China which had long been suppressed and imprisoned for several years had shown the signs of vigor and revitalization and became the pioneer of ideological emancipation, spearheading the other various forms of arts, taking up the heavy responsibility of conveying the first signs of the social revolution. With the introduction of western modernistic drama, many playwrights actively learned and absorbed the new forms and methods of this foreign opera, and on the base of which, made innovations in the way of combining the essences of Chinese traditional drama with this novel means of western modernistic drama, offering a series of excellent works to the 1980s’stage, bringing signs of prosperity for the stage which had been dreary for years.While most of the applause and encouragement be focused on the great avant-garde dramas made by male playwrights, another group of female playwrights with strong awareness of women began to boom their unique charm with the drama as their stage, such as Bai Fengxi, Shen Hongguang, Zhang Lili, Yi Ni and so on. Unlike their male counterparts, these female playwrights did not sedulously go in for nobly forms of drama, and rarely had the ambition of reforming Chinese traditional drama either. They just focus their attention with one accord on the fate of women around them with their born concern and different understanding of women, and merged the concern with their love for drama together. They truthfully pictured the living conditions of women in 1980s that were in a dilemma, therefore calling for more social care and understanding for the women.Since most of the influential female playwrights in the 1980s did not receive higher education, their inadequate experience of producing dramas and their biased points caused by their perspective of women resulted in their whole achievement in drama could not catch up with that of male playwrights. Problems such as: the simplifications of the thesis, the prone of stereotype of the roles, the superficial depiction of the figures exiting in their plays. Besides, they failed to touch the source of some social problems and did not make much efforts in exploring new forms and methods. However, they changed the previous female stage produced by men, and realized the urge of calling for women with their own voice. As they objectively reflected the living and psychological conditions of women in this particular period, and truthfully expressed their apprehension, therefore, their plays helped the society and the men have better understanding of the women, putting forward the women’s problem in front of the society, arousing the audience to think and give their suggestions. In addition, their gentle and delicate words, common but unusual subject, natural and faithful description made their plays close to heart, became the indispensible part of the 1980s’varied stage.

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