Thunderstorm: China's first drama in a century, a monument in the history of China's drama, made 24-year-old Cao Yu a blockbuster and made China's drama mature. In the past hundred years, if only one play is selected as the representative of China's plays, it must be Thunderstorm. It is the first readable and performable drama in China, and its birth broke the previous situation that China could only play foreign dramas. It is a masterpiece with the largest number of performances and groups in China's drama history, and it is a century-old myth and miracle of China's drama. The performance history of Thunderstorm for decades is not only the artistic history and social acceptance history of China's drama directors, but also the development history of China's drama performance. All these make Thunderstorm a well-deserved "China's first drama in a century". Teahouse: Miracle on the Oriental Stage is the most famous drama in contemporary China, and the most successful work in Lao She's later creation. It is praised as "Miracle on the Oriental Stage" by foreign experts. When the younger generations of this drama keep looking back at this classic with a look up, they find that it is actually a kind of "freehand brushwork" classic oriental aesthetics ready to go, without complicated plot transformation and unique position judgment of the times. 1September, 1980, Teahouse was invited to perform in the former West Germany, France and Switzerland, and China's plays went abroad for the first time. By May 27th, 2004, Teahouse had performed 500 performances ... a three-act drama, which condensed the vicissitudes of China for half a century and left a great cultural heritage for future generations. Qu Yuan: Qu Yuan, a master of historical drama, is not only the most brilliant masterpiece of revolutionary historical drama in the 1940s, but also a rare artistic treasure in the whole history of modern literature. This five-act historical drama, which was shot for ten days in one breath, can be described as the highest achievement and the most influential historical drama of Guo Moruo, which vividly shows Guo's revolutionary romantic style. Qu Yuan has performed more than 600 times in Japan, the Soviet Union, Romania, the Czech Republic and other countries, setting a record for China's plays performed abroad. Oppression: The one-act drama Oppression, a modernist drama model written in the winter of 1925, was regarded by Hong Shen as "the only masterpiece in comedy creation at that time". The drama created an exemplary character language and the most acclaimed drama structure, which is rare and universally valuable in most rough and low-quality works of the same period. Ding Xilin's "Human Comedy" did not get due evaluation in his time, and "Oppression" was no exception. In fact, Ding Xilin's comedy, represented by Oppression, is the first successful example of China's modernist drama, which has a certain "advance" and is unique in the whole drama history of China. Under the Roof of Shanghai: The novel Under the Roof of Shanghai, written on the eve of War of Resistance against Japanese Aggression, reveals the dark reality under the rule of the Kuomintang and hints at the prospect of a thunderstorm through the tragic experiences and joys and sorrows of a group of small people living in the alleys of Shanghai, trying to make the audience "hear the footsteps of the coming era". The author Xia Yan said it was a tragicomedy. "Under the Roof of Shanghai" is due to "Eight? 6? 1 13 "China and Japan went to war in Shanghai and lost the opportunity to stage. It was not until 1939 that it was premiered in Chongqing by the roar drama club. However, the appearance of this drama was the goal of China's anti-Japanese war drama, which established Xia Yan's important position in the history of China drama. White-haired Girl: An important symbol of the drama achievements of socialist realism in Yan 'an period, it is an excellent long drama White-haired Girl written by He Jingzhi and Yi Ding and collectively created by Lu Xun Art Institute 1945. Although it is a new opera, its stage style is similar to that of drama, which is the product of the ingenious combination of drama and folk songs. It successfully shows the theme that "the old society turned people into ghosts, and the new society turned ghosts into people". Its appearance and successful popularization provided a demonstration effect for the "socialist realism" drama creation mode after the founding of the People's Republic of China. In a Silent Place: A Masterpiece of Drama in the New Period+097865438+1October 065438+ 16, a four-act drama "In a Silent Place" by Shanghai worker Zong Fuxian, was performed vigorously. More than 20 years have passed. Looking back at the performance of the play in Silence, the publication of the script and its wide spread throughout the country, millions of people read and watched the script through newspapers, television and theaters. Artistic value is no longer the only criterion to measure it. What is important is that it liberates contemporary literature from the literary imprisonment of "Cultural Revolution" 10 and revives the endangered drama again. Absolute Signal: The pioneer of small theater movement1982165438+10. In October, Absolute Signal, directed by Lin Zhaohua, premiered in Beijing People's Art Small Theater, which opened the precedent of small theater movement in the new period. This successful experimental performance became the pioneer of China's own drama in the transitional period, which aroused the interest of the theater community in exploring small theater drama. Drama breaks the traditional way of communication between audience and actors. It also disrupted the chronological time structure of the traditional drama "The Present Progressive". Secret Love in Peach Blossom Garden: A well-known Asian classic 1986 The stage play Secret Love in Peach Blossom Garden established the position of Taiwan Province dramatist Lai Shengchuan and his performance studio in the drama world. Since then, the four arrangements have made the play a famous classic in Asia, and Lai Shengchuan, who is a director and director, is also well-known at home and abroad, and is known as "an indispensable heavyweight in China's drama". Love in the whole city: Love in the whole city continued to be written in 6 1 year, and was selected as one of the "Top Ten" legends, referring to two different versions separated by 6 1 year. On 1943, Zhang Ailing wrote the novel "Love in a Fallen City". The following year, she personally adapted it into a modern play with four acts and eight scenes, which was performed by the Popular Drama Company at Shanghai Guangxin Grand Theatre on 12+06. The play is directed by Zhu Duanjun and has a strong cast. Roland plays Bai Liusu, Comfort plays Fan Liuyuan, Wei Wei plays Mrs. Xu, Haitao plays the Indian princess, Duanmu Lanxin plays the fourth grandmother ... They are all temporary stars. 6 1 year later, Hong Kong Repertory Theatre presented its love with a brand-new love of the whole city, and director Fredric Mao brought the ending of the original work to an abrupt end, putting Bai Liusu at the peak after the reform and opening up.