The Unique Artistic Style of Xia Yan's Shanghai Beach.

Xia Yan's plays First of all, Xia Yan pays attention to the lives of ordinary citizens and intellectuals, showing the influence of the times. "I only wrote about people with different backgrounds, different academic qualifications and different personalities, but they were basically put in a specific environment with a kind heart, how they were wasted, how they were traumatized, how they loved and hated each other, and even how to achieve a possible result." Xia Yan's first play "A Corner of Metropolis" not only shows the life of ordinary people in Shanghai, but also pays attention to the situation in the whole country, and shouts "The Northeast is ours!" Therefore, it was banned and caused an uproar in society. The fates of Lin Zhicheng, Yang Caiyu and Kuang Fu in Under the Roof of Shanghai are all related to the real politics. Zhao Zhenyu, a primary school teacher who cares about current affairs, commented on the street news in the newspaper and the death of Li Lingbei's son in the war, which expanded people's horizons from hutong to the outside world. In Fascist Bacteria, Yu Shifu's living environment changed and his ideal of saving the country by science was shattered several times from Tokyo to Shanghai to Hong Kong and then to the mainland, all of which were the results of Japanese aggression. The experience of intellectuals in The End of the World is closely related to the war situation. "The national liberation war is the root of the' spiritual earthquake' of our time. There is a distance and an amplitude, so it can arouse all kinds of inner repercussions of women with different personalities and different environments, but who can refuse the influence of this huge wave? Who can stay out of the war? " As a writer in party member, Xia Yan always pays attention to the proposition of the times and the people. Secondly, adopt rigorous and simple realistic creation techniques. Influenced by the Russian writer Chekhov's drama, Xia Yan opposed exaggeration and melodrama, strictly followed the principle of truth, put ordinary life themes on the stage from the rhythm of life and the law of character development, and showed the real situation and rich inner world of characters in trivial matters of life. Under the eaves of Shanghai, the true feelings of life are at your fingertips. The sound of clothes dripping, vegetables washing, children quarreling together and coughing are intertwined, giving people a real and natural feeling. All kinds of contradictions and conflicts in the play are progressing smoothly, without giving people a sense of surprise and suddenness. Everything is smooth and natural. "The author described the souls of these characters in light ink, leaving no trace, muddy and not too vague. The true feelings are hidden behind the picture, and you have the power to attack people without hearing the call sign. This is the power of realism. " When writing "Song of Water Villages", the author originally wanted to show the deeds of anti-Japanese guerrillas, but "in order not to build towers on the sand, I deliberately pushed what I really wanted to write behind the scenes that the audience could not see". It shows the author's rigorous and realistic creative attitude. Third, pay attention to the exploration of the inner world of the characters. In general, Xia Yan's plays do not need fierce external conflicts to promote plot development, but "show the ripples of the torrent of the times on people's hearts", focusing on the internal conflicts between the characters' personalities and hearts, and making people taste the richness and complexity of the characters' inner world through subtle expressions and simple dialogues. In Under the Roof of Shanghai, Lin Zhicheng, Yang Caiyu and Kuang Fu try their best to be rational and restrained, showing their inner pain and helplessness. In Fascist Bacteria, Master Yu's wife, as a Japanese in the special period of the Anti-Japanese War, shows her complicated inner world through some simple words and subtle movements. In addition, the unpretentious language style and novel drama structure increase the unique artistic charm of Xia Yan's plays. The three-act drama "Under the Roof of Shanghai" published by 1937 marks the maturity of Xia Yan's drama creation and shows its realistic artistic characteristics. Shanghai Beach (also known as Reunion) puts the dramatic plot in a vivid realistic background, that is, after the Xi Incident, the Kuomintang released some political prisoners under the pressure of the anti-Japanese United front. Because of his work, the author learned the tragicomedy of some political prisoners who were imprisoned for many years after being reunited with their families, which inspired his creative inspiration. In the rainy season in the south of the Yangtze River, the air is filled with moist water vapor. Like bad weather, people's mood is also depressed and irritable. The plot unfolds in an ordinary alley in Shanghai, showing the gray life of five families. "It reflects a group of little people in Shanghai, a deformed society. Their joys and sorrows reflect this great era from the lives of little people, so that the audience at that time heard the footsteps of the coming era." Drama has created a series of images of little people. Lin Zhicheng, the second landlord, is very unhappy, and his wife Yang Caiyu is very busy. Although the economic situation is good, she still can't get rid of the entanglement of the past. Zhao Zhenyu, a primary school teacher who lives in the kitchen, is optimistic and cheerful, and lives a poor life on a meager salary. However, under the great pressure of life, Zhao's wife appears selfish, narrow-minded and full of complaints. Li Lingbei, who was addicted to the pain of losing his son, sang the sad tune of "Looking forward to being a darling, not being helped, tears streaming down her face" in the Beijing opera "Li Lingbei" all day; Huang is an unemployed employee of a foreign company, who has already suffered from lung disease. In order not to be disappointed when he came to visit his father from the countryside, he pawned something and forced a smile. Shi, her husband went to sea, was forced by life to become a dancer, bullied by hooligans, and could not get the sympathy of the people around him. Every family has its troubles, and everyone is troubled by financial difficulties and mental depression. The main line of the play is the emotional entanglement between Lin Zhicheng, Yang Caiyu and Kuang Fu, who has just been released from prison. The revolutionary Kuang Fu went to prison and entrusted his wife and daughter to his good friend Lin. Lin and Yang had long-term contacts to form a family, and Kuang Fu's return put them in an awkward position. The author has no intention of portraying anyone as a villain, but emphasizes the torture of the real environment. Lin has compassion and a sense of justice. In order to form a family with his friend's wife, he lived a life of being bullied at the same time and was condemned by his conscience. Yang Caiyu used to be a passionate girl. She ran away from home for love and revolution. The hardships of life turned her into a hardworking, vulgar and peaceful housewife. However, in prison, I am suffering deeply, eager to seek the caress of my wife and daughter, and face the cruel reality that my wife lives with her best friend. They all bear the scars left by the past, but the new forces also show great vitality in the gloomy environment. The return of Kuang Fu reminded Yang Caiyu of her fiery youth, and her depressed heart was rejuvenated. His daughter's cheerful singing restored the soldier's passion and he resolutely left. At the end of the play, Bao Zheng and A Niu led everyone to sing "We are all brave little dolls, let's unite to save the country!" ! Save the country! "This kind of voice overwhelmed Li Lingbei's sad melody and inspired people to resolutely come out of the depressing atmosphere." Under the Roof of Shanghai is quite distinctive in its dramatic structure. It shows the family affairs of five families and five intertwined streams of life on the stage in the form of main and auxiliary lines, which fully embodies the richness and complexity of life. The unique life melody in each family is composed of a tortuous and rich movement, which reflects the living conditions of ordinary people in a specific era and covers a large area. In the actual performance, by controlling the stage lighting and using the cross section of the alley to transfer the scene, it gives people a strong sense of reality.