Realistic drama script?

The realistic tradition of China's plays began to emerge in the May 4th period when he pursued individual liberation and attacked feudal rule. In the subsequent development, despite the impact of modernism, it did not fundamentally shake the realistic foundation of China's plays reflecting the times and expressing life. On the contrary, some artistic expressions of modernism have been absorbed by some playwrights and become an integral part of China's realistic drama. After 1930s, with the aggravation of the national crisis, the realistic features of drama became more and more obvious.

Here are some realistic dramas for your reference:

1. Xia Yan (1900- 1995) was originally named Shen Naixi. In the late 1930s, he wrote a long play "Under the Roof of Shanghai" (1937). He chose the unique "rainy season" in the south of the Yangtze River as the plot background, and wrote about living in the most common alley house in Shanghai.

2. Fascist Bacteria (1942) is a play by Xia Yan in the late period of the Anti-Japanese War. Master Yu, the protagonist in the play, is a bacteriologist studying in Japan. After the Sino-Japanese War began, he returned to the motherland with his Japanese wife and young daughter. Although even his maid resigned angrily because she hated the Japanese and that he had a Japanese wife, Master Yu didn't realize the seriousness of the reality. He is obsessed with scientific research, immersed in the laboratory and doesn't care about politics and the world. However, the war moved him from one place to another. In Hong Kong, the enemy broke into his house, took his experimental equipment and shot a young man in front of him. The cruel war shattered his scientific dream, and he finally realized that the biggest harm to mankind was not the bacteria under the microscope, but the fascism that ran rampant in the world. This is the "bacteria" that needs to be eradicated most. Therefore, he was determined to devote himself to the historical torrent of War of Resistance against Japanese Aggression and destroy the enemies of mankind.

3. Wu Zuguang (19 17-), a Beijinger, joined Sino-French University in 1930s and taught at Chongqing National Theatre in wartime. From 1937 to 1947, he wrote many plays, such as Phoenix, Song Zhengqi, Return on a Snowy Night, Journey of Youth and so on, among which Return on a Snowy Night (1942) is the most famous. Wei Liansheng, a famous Peking Opera actor, spoke highly of his art and was pleased and satisfied with his situation. He met Yuchun, the bureaucratic favorite concubine, and they fell in love. Yuchun was born in a brothel. Although she became a good woman, she knew very well that she was just a plaything in the hands of others. She warned Wei Liansheng not to be content to drag out an ignoble existence in front of him, but to have a clear self-knowledge and know that "a person is not what he should be." The two really loved each other and were ready to escape, but the story was revealed and a pair of lovers finally separated. Twenty years later, on a stormy night, the two men came face to face, stubbornly looking for the place where they had sex, but Wei Liansheng died in the snow before they met, and Yuchun was full of pain and didn't know where to go. On the surface, this drama is a love tragedy, but it reflects the reality that China society suppresses human nature and despises human dignity. The playwright reflected on the problem of "human liberation" that has haunted the minds of China cultural people since the May 4th Movement, and publicized the humanistic spirit of ideological enlightenment.

4. The foggy city of Chongqing (1940) is an important play of Song Zhi. This is a tragedy that describes a group of young people struggling and sinking in the real environment of Chongqing during the Anti-Japanese War. Although they are well-educated and full of ideals, the reality forces them to have no choice but to make ends meet. Terry became a social butterfly, Lin Juan opened a small restaurant, Sha Daqian became a speculator, she became a fortune teller forever, and Lao Ai died of poverty. The play deliberately depicts the process of the young intellectuals' ideals and lives being swallowed up, thus showing the vacillation and weakness of compromise of the petty bourgeoisie, and sharply criticizing the decay and darkness of Kuomintang rule.