XX ASR XITOY ADABIYOTIDA “YANGI DRAMATURGIYA”

Annotatsiya

In China, theater and dramaturgy have developed over the centuries in the heart of national traditions. However, by the beginning of the 20th century, there were changes in the ideological direction, content, and form. Due to the economic, social and spiritual changes taking place in the society by this period, complex processes in national art took place. The crisis situation in the traditional theater prompted the active study of foreign culture and the development of a new form of dramaturgy and theater. This art came to China from the West together with revolutionary-democratic ideas. During these times, the first samples of "huashui" ("oral drama") - modern drama - began to be published in the press. Called "oral drama", this art form refers to the uniqueness of the drama, which is radically different from the traditional, old, syncretic musical form. In it, instead of poetic monologues - arias, which are usually performed in an ancient language, a lively modern style of conversation took the main place. Sharp differences were noticed not only in the language of the drama, the speech of the characters, but also in the main means of artistic representation, the division of plays into scenes and acts, and the costumes and stage decorations of the characters. New art - a new form of perception of reality, emerged as a new sphere of people's spiritual life. Another aspect that makes it different from traditional theater is the raising of important socio-political, moral-aesthetic and other topical issues.

At the beginning of the 20s of the 20th century, the influx of foreign literary streams into China increased. Acquaintance with foreign drama opened the way for China to treasures of world art from antiquity to modern times. Foreign dramaturgy prepared both the writers and the audience for the new Chinese drama. Thus, in the 20s, three main principles were observed in the development of Chinese drama: the national heritage related to traditional theater, the assimilation of foreign drama and modern national drama. By the 30s of the 20th century, a somewhat precarious political situation arose in China: there was a threat of a Japanese attack on China. During the struggle against the Japanese invaders, the development of theater and drama became more active.