Aesthetics and Politics of Taiwanese Chronicle Play in Anti-Communism Era: Launch of Li Man-Gui’s Chronicle Plays and Post-war Drama Movement (1949-1975)

• Main Authors: Pi-Hua Chen, 陳碧華
• Other Authors: 陳建忠
• Format: Others
• Language: zh-TW
• Published: 2011
• Online Access: http://ndltd.ncl.edu.tw/handle/12251182553705030826

碩士 === 國立中興大學 === 台灣文學研究所 === 99 === SUMMARY Chronicle play was regarded as kind of special drama literature in anti-communism period. Especially in 1950-1960’s, historical topics was often utilized for political propaganda in Taiwan modern drama. In this period, the amount of published chronicle play and performance were both considerable. However, relevant research was rare. Li Man-Gui, the subject of this research, created many chronicle plays in post-war period. The reality in the time stimulated her emotion and inspiration toward chronicle play. Therefore, we can found that her works usually accompany strong nationalism and patriotism. Li transferred rational opinions and ideology into sentimental plays; those works not only expressed her voice but also implicated political leaders’ power and thinking. The drama aesthetics formed under this context is usually contradictive and complex. This paper took Li Man-Gui’s chronicle plays and Taiwan post-war modern drama movement as the research subject to discuss the relationship between chronicle play and politics. Furthermore, approaching Li Man-Gui’s creation progress of chronicle play, the researcher intended to discover the profound spirit and meanings inside. The paper consists of five chapters. The preface illustrated research motive, proposition, relevant explanation and research scope. In addition, the relationship between aesthetics and politics was also addressed roughly. In chapter 2 dig the development of chronicle play cross the strait by observing the general situation of chronicle play in Taiwan and drama in China. This chapter would show the special phenomenon- booming of chronicle play- in Li’s era. We are able to find out development context, evolution and revolution of chronicle play as well as its growth and decline. Besides, those plays reflected the society and politics at the time and uncovered styles in periods and the contemporary position toward drama. We can also understand the features of chronicle play in Li Man-Gui’s time. Chapter 3 investigated the intertwined relationship between arts and politics in Li’s works. Not only did the researcher observe Li’s viewpoints and ideology but also discuss her reality concern shown inside. In addition, the influence generated by national art policy on her creation/theories would be demonstrated. Finally, the paper would raise extended questions about the relationship between arts and politics. Taking Li Man-Gui’s chronicle play as the breakthrough point, chapter 4 observed the relationship between works, social structure, thinking, history and power meanwhile analyzed the topics, contents, birth, and transmission of Li’s seven chronicle plays produced in Taiwan. The researcher also mentioned the influence and echoes raised by these plays at the time and the ideology covered behind. By above analysis, the paper would dig out this master’s writing strategy, creative thinking and meaning of works in the process of creation, in order to unveil Li Man-Gui’s intention. Chapter 5 discussed style and characters in Li Man-Gui’s chronicle plays. Besides of analyzing the spiritual meanings, the paper observed how she claimed her ideas and demands through characters as well as explained briefly the narrative features of her chronicle plays. The researcher hopes that the above would be helpful to understand and grasp the artistic structure of Li Man-Gui‘s chronicle plays.