摘要
There is a profound and close relationship between philosophy and drama. All great writers have a philosophical vision and fantasy of one kind or another. As Wang Guowei said, "A Dream of Red Mansions is universally acclaimed as a philosophical and literary work." However, Chinese drama has always been plagued by pragmatism and instrumentalism, and often finds itself caught in the trap of philosophical poverty when it comes to dramatic writing and theoretical criticism related to drama. Friedrich Engels once said, "The immense depth of thought and the historical content are perfectly integrated with the vividness and richness of Shakespearean plots." This remains the highest philosophical standards we are going to reach in dramatic writing.
There is a profound and close relationship between philosophy and drama. All great writers have a philosophical vision and fantasy of one kind or another. As Wang Guowei said, "A Dream of Red Mansions is universally acclaimed as a philosophical and literary work." However, Chinese drama has always been plagued by pragmatism and instrumentalism, and often finds itself caught in the trap of philosophical poverty when it comes to dramatic writing and theoretical criticism related to drama. Friedrich Engels once said, "The immense depth of thought and the historical content are perfectly integrated with the vividness and richness of Shakespearean plots." This remains the highest philosophical standards we are going to reach in dramatic writing.
