중국 현대극의 서구 연극 사조 수용양상－ 曹？의 작품을 중심으로

Abstract

Chinese modern plays have imitated Western plays for a while to learn unique forms and content of plays. It is natural that there were many of works that reversed western’s fine pieces. Occasionally a creative play was published but it was under the category of adaption. Original plays were possible after this translation and production of western works. There was a Caoyu as a beginning of a creative play. However it was premature to produce Caoyus. It has often been criticized the works are influenced by western works and even that they are complete copies from western works. In this regard, there is some areas of the works that can stand comparison with western dramas. This is why similar work has been presented and the works were criticized to find evidence of imitation whenever the published works were published. It has been commented on by contemporary writers, but it reveals the situation of the day when there was a change from adaptation to creative work. The purpose of this study was to examine the process by which Western plays have been accepted through Choyu’s important work. First, this study studied how the play was accepted in China through Greek Tragedy and “A Thunderstorm”, and research on the combination between western realism and Chinese realism in comparison with Ibsen’s realism play and “Sunrise”. Next, this study shows how Expressionism plays were accepted in China through O’Neill’s play and “wasteland”. Lastly, this study is to show the value of Chinese plays by going through a comparative study between Chekhov’s naturalism play and “Pekingese”