The central theme and writing technique of Teahouse, Lao She's own evaluation and the evaluation of other cultural celebrities.

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As follows, concentrate yourself ~

Taking a teahouse in Beijing as the stage, Teahouse shows the life scenes and historical trends in three different periods: after the failure of the Reform Movement of 1898 in the late Qing Dynasty, during the separatist regime of the northern warlords in the early Republic of China, and before the collapse of the Kuomintang government. It has a tight structure and reproduces sharp contradictions and rich social life in one go. Although it has a strong sense of tragedy, it jumps the pulse of the times, shows the strength of the people and the trend of historical progress, and has an inherent spirit of historical optimism. This marks the important development of the writer's thought and realistic creation method.

With his unique artistic technique, he put the social changes of China in three historical periods into Teahouse in less than 50,000 words, and vividly showed them in the form of drama.

In this three-act play, there are more than 70 characters, 50 of whom have names or nicknames. The identities of these characters vary greatly. Some of them have been members of parliament, some have been directors of the gendarmerie headquarters, some are remnants of the Qing Dynasty, some are leaders of local evil forces, some are storytellers, fortune tellers and peasant women. All kinds of characters constitute a complete "social" level.

The creative intention of Teahouse is very clear. Through the change of "Yutai" teahouse furnishings from simple to new and then to simple, it shows the characteristics and culture of the teahouse in each specific historical period. At the beginning, tea drinkers played with birds, tea and insects. Although they were antique, they were all quiet because of the appearance of "detectives" and the note "Don't talk about state affairs". In the second act, the survival of Yutai, the renovation of teahouse facilities and the contraction of the scene undoubtedly hint at the teahouse's struggle in this increasingly contradictory society. The bigger the "foreign flavor" in the teahouse and the note "Don't talk about state affairs" written by Zhang Yue, the greater the crisis. In the third act, not only did you write a note "Don't talk about state affairs" with a large number, but there was also a note next to it: "Pay for tea in advance". This shows that the teahouse has reached the point where it can't make ends meet, and "paying for tea in advance" and "not talking about state affairs" obviously reflect a causal relationship.

Lao She takes the teahouse as the carrier, sees the big from the small, and reflects social changes. It is "tea" that brings all kinds of people, social classes and social activities together. If there is no "tea", everything in the teahouse will cease to exist. Because of this, Lao She also devoted a lot of pen and ink to Beijing teahouse culture in his plays. For example, in early teahouses, besides drinking tea, there was also a snack "carrion noodles". While drinking tea, you can also do many things that have nothing to do with tea; Teahouses in Beijing, like those in Jiangnan, are places for "eating and drinking tea"; Old customers of teahouses can get credit, and people who drink tea can also bring their own tea. Teahouses are also good places to listen to books, where storytellers can make a living. ...

Such details add a real atmosphere to the theme of Teahouse. Besides the theme of service, it also shows a bright spot of China teahouse culture. The artistic value of teahouse lies not only in reflecting the social changes in a historical period through a teahouse, but also in reflecting the influence of social changes on teahouse economy and teahouse culture.

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