What is the ideological connotation expressed in the drama Teahouse?

In the three-act drama Teahouse, 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 gendarmerie headquarters, some are old people 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.

Teahouse shows the characteristics and culture of the teahouse in each specific historical period through the change of the furnishings of Yutai Teahouse from simple to new and then to simple. 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".

The survival of the "Yutai" in the second act, the renovation of teahouse facilities and the contraction of the scene imply 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. "Pay for tea first ... don't talk about state affairs" obviously embodies a causal relationship. Lao She takes the teahouse as the carrier, sees the big from the small, and reflects social changes.

Extended data

Teahouse is a work completed by Lao She in 1956 and first adapted by Beijing People's Art Theatre in 1958. This drama takes the teahouse as the epitome of society. Through the changes of the world for half a century, more than 70 characters have interpreted the life of people from all walks of life. This is the first time that China has played abroad.

People's spiritual crisis is a part of the cultural crisis of the times. Teahouse describes the spiritual crisis of people in the old society mainly with the help of three key figures-Wang Lifa, Qin and Chang. The successful creation of Teahouse fully embodies Mr. Lao She's artistic pursuit.

1, Wang Lifa

This is a character that runs through the whole play. He is the shopkeeper of Yutai Teahouse. In the first act, he is in the prime of life. He just inherited his father's teahouse business, and also inherited his father's philosophy of life, that is, say more good things and bow more.

He is smart, considerate, sociable and adopts different reception methods for different people. In the second act, we watched him skillfully blackmail the patrolman, and he listened patiently to Cui Jiufeng, the tenant of his apartment. Although I don't necessarily understand it, I also say something flattering from time to time. As a businessman, Wang Lifa is timid and selfish.

For example, although he sympathized with the sufferings, Kang's situation and the cries of refugees, his sympathy was very limited. Facing the dark reality of old China, Wang Lifa, who lives on his own labor, is good at management and improvement, but unable to resist the oppression of various reactionary forces.

He also has strong dissatisfaction with this, but he expressed it very implicitly. For example, when Tang Tiezui said "Thank you for this year", he said: "This year is worth thanking!"

This sentence contains his sadness and resentment. It is such a small businessman who is good at doing things, but in the end he did not escape the fate of bankruptcy. After the teahouse was occupied, he hanged himself. Wang Lifa's tragedy is a true portrayal of the life and fate of ordinary people in old China. The significance of this image lies in that it exposes the cannibalism of the old system and reflects the irrationality of the old times.

2, often grandpa four

Grandpa Chang is a standard bearer, and he can eat official money and official food in the Qing Dynasty. But he was dissatisfied with the corrupt Qing government and hated imperialism even more. In the first act, he was arrested for saying that "the Qing Dynasty is going to be finished" and spent a year in prison. After he was released from prison, he joined the Boxer Rebellion and made a living by selling vegetables. He is upright, stubborn, enterprising, full of sense of justice and helpful.

He showed no mercy to the spy who arrested him. Wang Lifa was worried about closing the city gate and not buying food, so he sent pickles and chicken. In the third act, he also bought a coffin for Mr. Song's charity.

But in the end, I was down and out. I picked up the paper money left by others as a souvenir of my future. He shouted in despair, "I love our China, but who loves me?" This image reflects the darkness of society and people's resistance.

3. Master Song

He is a flag bearer, timid and lazy. Before the demise of the Qing Dynasty, I lived an idle life, drinking tea and shooting birds all day. During the Republic of China, the treatment of "hard-core crops" disappeared, but they didn't want to stand on their own feet. They still stick to their old life, preferring to starve themselves rather than feed the birds. Finally starved to death. This is a typical example of the flag bearer's inability to make a living, which reflects the decay of feudal society in China.

4. Pockmarked Liu

Local ruffians and hooligans who make money by abducting people through matchmaking. In the first act, he bought Kang for twelve taels of silver and sold it to eunuch Pang for two hundred taels of silver. In the second act, he talked with two deserters about business, but he was shot as a deserter before he could talk about his grades. This character image shows the morbidness and deformity of the society at that time.

5. Qin

He is a representative of the national bourgeoisie. He is rich and pretentious. He has no sympathy for the poor. He is considering making more money and trying to save the country through industry. His rule over the Qing Dynasty was opposed by class instinct. In the dialogue with eunuch Pang, there is rigidity in softness, which shows the challenge and spirit of a new class, thus truly revealing the essential characteristics of the bourgeoisie.

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