An analysis of the characteristics of the main characters in the drama "Teahouse" and the ideological significance of the work

Lao She (1899-1966), formerly known as Shu Qingchun and given the courtesy name Sheyu, was a native of Beijing and Manchu. Famous modern writer. The main works include: "Longxugou", "Camel Xiangzi", "Teahouse", etc.

The time of this scene

After the victory of the Anti-Japanese War, Kuomintang agents and American soldiers were in Beijing When running rampant. Autumn, early morning.

Location

Beijing, Yutai Teahouse

Main

Characteristics

Wang Dashuan - Shopkeeper Wang's eldest son. He is an upright person;

Wang Xiaohua - the daughter of Da Shuan and the granddaughter of Wang Lifa;

Xiao Tang Tiezui - the son of Tang Tiezui, inherits his father's legacy and has the potential to be a heavenly master Wish;

Little Song Enzi - the son of Song Enzi, inherits his father's career and works as a spy;

Director Shen - the director of a certain military police headquarters...

Mainly talks about the decline of the teahouse (the former wicker chairs have turned into small wooden benches and long benches, which shows that the teahouse can no longer sustain the life of Wang Lifa and his family), Wang Lifa's son, daughter-in-law, granddaughter and others also want to escape, Shen The director wants to transform the teahouse into a coffee shop and dance hall. Wang Lifa finally hanged himself and died

It is a realist masterpiece that reveals the tragic fate of the lower-class workers in old Chinese cities. It is not only a peak of Lao She's entire creation, but also represents the level and quality of Chinese literature in the 1930s. Achievement. Marked the formation of his realist style.

1. From the perspective of social criticism, Lao She exposed the darkness and decline of old China in the 1920s and 1930s.

2. From the perspective of cultural criticism, "look at life, appreciate life, and explain life", thereby obtaining profound thematic implications and revealing the fatigue of life in the abnormal civilization of the city.

Xiangzi became the first urban lower-class worker to be portrayed with spirit and strength in the New Literary Characters Gallery since the May Fourth Movement. Lao She focuses on revealing the mental and soul ailments of the characters, and his psychological descriptions often adopt the narrator's internal perspective to understand every inch of the characters' thoughts.

In terms of language use, the language of "Luotuo Xiangzi" is clear, friendly and lively, with distinctive local color, creating a unique "Beijing-style literary language". The characters' language is also highly personalized.

3. "Teahouse" [Analysis of drama structure, artistic charm, and cultural charm? ][Position in the history of Chinese drama]

Position: It is a milestone in New Chinese drama. It is a "Lao She brand" art that has just been achieved by using and integrating the writer's life and artistic accumulation. Excellent product. It not only embodies the distinctive national character in various aspects such as historical content, structural form, subject consciousness, characterization, dramatic language, scene design, etc., but also conveys strong modern aesthetic characteristics. "Teahouse" is immortal. In the more than 80 years of Chinese drama history, it serves as a symbol that the drama form has completely shed its initial traces of imitation and has become our national form. It presents what is known as "the miracle of Far Eastern drama" and "the essence of modern Chinese drama". Its cultural and narrative perspectives give it eternal artistic and cultural charm.

First of all, it has outstanding folk cultural characteristics.

A. The customs and culture content reflected in "Teahouse" can be roughly summarized into two aspects: "First, various old customs of Beijing and China. Second, the various characters of "Man-Han Banquet" themselves have The nature of folk culture. It depicts the evolution of social history and shows the life situations, life forms and cultural forms of different historical stages.

B. Integrate custom comedy and epic drama. The deep structure of "Teahouse" is the contrast between two groups of characters, one is the image of innocent people; the other is the image of evil forces. They together constitute a symbolic image of the bad nature of the people.

Secondly, It has strong modernity.

A. It does not focus on the ending like traditional dramas;

B. There is no intense and integral dramatic conflict, or even no through-line at all. Plot, it mainly uses the activities of characters to form pictures of the world and customs.

The main characters grow up and grow old throughout the play; the secondary characters are inherited from father to son to connect the structure and promote the plot;

C. Use strong dramatic actions to intuitively express dramatic conflicts.

(1) Class contradictions, national contradictions and various social contradictions form a huge social background, which surrounds teahouses and all kinds of characters in them.

(2) Use strong action to express dramatic conflicts. The intensity of the action is not external, but in the heart of the character.

Finally, the most vivid aspect of "Tea House" is comedy. It is a play with rich comedy color that "mixes crying with laughter". After using a variety of humor, he has a strong sense of social criticism and a clear sense of proportion, good-natured ridicule and ruthless lashing. (In addition to the eye-catching epic scale, novel artistic structure and excellent folklore reproduction, continuing from the previous point, the performance is...)

The main characters: Wang Lifa, the owner of Yutai Teahouse, Chang Erye, Qin Zhongyi, belong to Image of innocent people;

Song Enzi, Wu Xiangzi, Tang Tiezui, and Liu Mazi are representatives of the evil forces. Together they formed a symbolic image of the nation's bad nature. Lao She showed the continuation of evil forces in different eras through a slightly exaggerated "father-son inheritance" method, and used the relationship between teahouse regulars to allow Wang Lifa, Chang Erye, and Qin Zhongyi who had gone through vicissitudes to gather together to review their lives, thus making "Yutai" become The symbol of the entire old Chinese society has, in a sense, become a symbol of the deep psychological structure of the nation. Wang Lifa of "Yutai" is a major clue. His timid, tactful and profit-oriented character did not prevent the teahouse from escaping the fate of closure under the changing times and the oppression of evil social forces. Like him, others who run through the three acts include Chang Siye, Qin Zhongyi, etc. Qin Zhongyi dreamed of saving the country through industry and was proud of the national capitalist's "business skills" and the sacredness of the "savior". As for Chang Siye's integrity in a narrow sense, it has distinct Manchu cultural characteristics. In addition, the surly and surly Ma Wuye who followed the foreign religion, and the vulgar scoundrel of Tang Tiezui... all deeply reflected the cruel facts of that smoky environment of the era.

There are 51 named characters in "Tea House", which brings together people from all walks of life in the entire lower-class civil society.