Abstract of the doctoral dissertation by Tran Thi Thu

 

 

INTRODUCTION

1. Reasons for choosing the topic

Historical themes have always been fascinating subjects for contemporary writers and have become a highly sought-after area of ​​study in literary research and criticism. Through their interpretations and explorations of past issues, writers have clearly demonstrated their perspectives and perspectives on historical figures and events.

Each author, when approaching historical themes, strives to innovate the material to express their personal and contemporary perspective on the past, but not simply as an illustration. Behind it, there are always profound intentions regarding contemporary issues. It is precisely because of this that changes in social structures and the ideology of the era lead to differences in the characteristics of literature in general and drama in particular.

The periods of literary development always mirror the stages of national history. 1945 and 1986 are two important milestones in modern Vietnamese literature. Before and after this period, literature showed many differences in artistic viewpoints, main inspirations, themes, and character worlds. Therefore, drama in particular, and Vietnamese literature in general, during the 1945-1985 period will have its own unique characteristics.

For the reasons mentioned above, we have chosen Vietnamese Drama (1945 - 1985) focusing on historical themes, artistic thinking, and genre characteristics as the research topic for our thesis.

2. Research Subjects and Scope

2.1.Research subjects: refers to the artistic thinking and genre characteristics of plays written on historical themes during the period 1945–1985.

2.2.Scope of research:

This includes plays with themes of revolutionary war and national liberation, as well as plays with themes of Vietnamese feudal history written between 1945 and 1985 by professional authors. Among these plays, the author has selected those depicting important events recorded in history, real-life figures, or characters based on real people.

3. Research objectives and tasks

3.1.Research objectivesBased on the study of plays written on historical themes, this thesis aims to identify the most fundamental characteristics in the approaches to historical material used by authors. Simultaneously, the thesis analyzes the artistic thinking of plays written during this period, noting their distinctive genre characteristics that differ from those of previous and subsequent periods, in order to identify similarities and differences. From this, the value of plays written on historical themes during this period can be recognized.

3.2.Research task:

First, this study provides an overview of the theoretical and practical aspects of research and playwriting on historical themes across different periods, in order to understand the position and role of plays written on historical themes during the period 1945-1985.

Secondly, identify the fundamental characteristics of spoken drama works from the perspective of artistic thinking through the approaches to historical material and the subjects chosen to reflect in the works.

Thirdly, the thesis analyzes the characteristics of action, language, dramatic conflict, etc., in works from this period, noting similarities and differences compared to works before and after it.

Fourth, the thesis explains the reasons for the formation of artistic thinking and the unique characteristics of plays written on historical themes during this period.

4.Research methods

The topic will utilize and combine several important methods (such as:DirectionSocio-historical method, Typological method,Interdisciplinary research methods,Cultural studies approach, biographical method...), along with the methodological principles of several modern theories (such as Aristotle's theory of tragedy, Stanislavski's system of theories, Arthur Miller, Bertolt Brecht...). In addition, the thesis also uses analytical, comparative, statistical, and synthesis operations to thoroughly and effectively solve the research objectives.

5.Contribution of the thesis

Theoretically, this is the first specialized scientific work researching Vietnamese plays written on historical themes during the period 1945-1985 from the perspective of artistic thinking and genre characteristics. Through this, the thesis adds a new perspective and research approach to historical plays in particular and spoken drama in general.

In practical terms, the thesis contributes to expanding and supplementing teaching and research materials, helping students access theoretical and practical materials on the subject of drama as well as literary and artistic issues.

6.Thesis structure

Besides the Introduction and Conclusion, the thesis is structured into four chapters:

Chapter 1. Overview of the Research Problem

Chapter 2. Vietnamese Drama on Historical Themes in the Development of Literature and Drama from 1945 to 1985

Chapter 3. Vietnamese Drama (1945 - 1985) on Historical Themes - From an Artistic Perspective

Chapter 4. Vietnamese Drama (1945 - 1985) on Historical Themes - Viewed from the Characteristics of the Genre

Chapter 1

OVERVIEW OF THE RESEARCH PROBLEM

1.1. An Introduction to Thinking and Artistic Thinking

1.1.1. Thinking

The concept of thinking (in its broadest sense): is the process of rational cognitive activity of human beings, aimed at reflecting the essence of things and phenomena.

Thinking is studied in many different fields and there are two distinct types of thinking. In philosophy, we have metaphysical thinking and dialectical thinking. In terms of social consciousness, we have scientific thinking – logical thinking; artistic thinking – metaphorical thinking; and religious thinking.

Scientists also distinguish thinking from other similar concepts such as consciousness, reason, and thought.

1.1.2.Artistic thinking

Artistic thinking is the process by which an artist creates a work that reflects reality based on their personal beliefs and feelings; it is strongly influenced by the creator's worldview and philosophy of life. Understanding artistic thinking also means exploring the artistic ideas, concepts, and artistic means that the artist has chosen to create their works.

1.1.3.Dramatic thinking

To understand the characteristics of dramatic thinking, we need to compare it with poetic and prose thinking. Unlike novel and short story thinking, where writers approach historical reality in the past, dramatic artistic thinking also aims at reality through exploring the individual destinies of characters, but approaches reality in the present (through the direct recreation of the characters' dialogue).

We can understand dramatic thinking as a mode of artistic expression, sharing common characteristics with artistic thinking in literature, with many similarities but also many differences from novelistic thinking due to the genre's characteristics. Through various stages and processes, it will change, and each playwright will have a different thought process, resulting in a unique artistic world they create.

1.2. Introduction to drama and its genre characteristics

1.2.1.The concept of drama

Drama is a unique genre; it belongs to both the field of theater and the field of literature.Dictionary of Literary TermsDrama is understood at two different levels: the typological level and the genre level. At the level of genre.typeDrama is one of the three basic modes of literature (drama, narrative, lyric). At this level...typeDrama (which can be understood as spoken drama) is a genre that exists alongside other theatrical art forms such as dance drama and musical drama.

1.2.2.Characteristics of drama

1.2.2.1. Dramatic conflict

Conflict can be seen as the beginning of drama. Hegel was the first to propose a complete theory of dramatic conflict (Aristole had also mentioned it before, but not in a truly complete and clear way, and in a more specific manner). Later, figures closely associated with the history and development of drama, such as Stanislavski and Arthur Miller, affirmed the role of conflict in drama. Dramatic conflict must be organized on the basis of typification, encompassing many pairs of opposing categories. Dramatic conflict originates from contradictions in life; these contradictions must be intense, dramatic, and profound to become conflict and be expressed on stage.

1.2.2.2. Dramatic Action

Action in drama not only reveals the character's personality through gestures, words, and movements, but also expresses the character's feelings and thoughts in response to the situations in the plot. There are two types of action: internal action (which includes inner thoughts and feelings, often changing due to the impact of dramatic conflict, creating psychological depth for the character) and external action (which includes the character's mannerisms, gestures, movements, speech, etc.).

1.2.2.3. Dramatic Language

Language is the primary component of an artistic text, a crucial element of writing style. In a dramatic work, all linguistic issues are addressed through the characters' language. This is the most significant difference compared to narrative and lyrical language. A dramatic text is a dialogue, completely devoid of the concept of a "narrator" as in narrative works.

The words spoken by the characters are called dialogue, and they include three forms: conversation, monologue, and aside.

1.3. Overview of the history of research on the problem

1.3.1. Research on artistic thinking in literature

The issue of artistic thinking in literature has been addressed in many research works in recent years. Regarding poetic thinking, one can mention the textbooks.Vietnamese poetic thinkingby Nguyen Ba Thanh. The essay on prose thinking includes this topic.Nguyen Tuan's artistic thinking as seen through his love stories.by Vuong Tri Nhan,Poetic thinking in contemporary Vietnamese novelsby Nguyen Thi Binh. There are several works written about the changes in thinking in artistic creation, for example:Several issues in the Vietnamese literary conception of humanity.by Tran Dinh Su,A brief overview of a new literary mindset that is emerging.by Nguyen Ngoc,Innovation in literary thinking and the contributions of some prose writers.of Mai Huong etc.

1.3.2. Research on the theory of dramatic genres

In Vietnam, many studies on the general theory of drama by foreign authors have been translated into Vietnamese. Researcher A. Anhist has several specialized books.Dramatic theory from Aristotle to LessinandDramatic theory in the WestIn the latter half of the 19th century, B. Brecht had a work...Discussing narrative theater...In studying the influence of foreign playwriting theories and methods on Vietnamese theater, the authors paid close attention to A. Chekhov, Satanislavski, and Arthur Miller... Researcher Hoang Su has two works related to Soviet dramatic theory:Problems of Chekhov's dramatic poeticsandStanislavski's theatrical method. A treatise by Tran Yen ChiThe Art of Screenwriting by Arthur MillerThere has been in-depth research into Arthur Miller's characteristics in portraying human issues and criticizing American society in the late 20th century. The theory of drama has also been a focus of many domestic theater theorists and critics, raised during their research on drama since the 1970s and 1980s. Some notable works include:The art of playwriting, constructing a dramatic plot.by Ho Ngoc;Drama theory, On dramatic poetics, On the image of the new man in drama.by Tat Thang;Literary and theatrical exchangeby Phan Trọng Thưởng… These can be considered quite profound and comprehensive studies of dramatic literature in terms of genre.

1.3.3. Research Statuscomposedrama and historical drama

There are quite a few studies exploring the formation and development of spoken drama in the early 20th century. Among these works, mention should be made of relatively early books on Vietnamese drama such as:A preliminary study of the history of Vietnamese spoken drama (beforeC(August Revolution)by Phan Kế Hoành and Huỳnh Lý andA preliminary study of the history of Vietnamese spoken drama 1945 – 1975 (Creative and performance activities)by Phan Kế Hoành and Vũ Quang Vinh); Vietnamese Writers (1945)But 1975)by Phan Cự Đệ and Hà Minh Đức;Historical Issues in Vietnamese Drama (First Half of the 20th Century)by Phan Trọng Thưởng.

In recent years, studies on drama have often revolved around a specific period of drama development or focused on the dramatic works of representative authors. Among recent articles and studies on drama, we have found that three authors have been most extensively researched: Nguyen Huy Tuong, Nguyen Dinh Thi, and Luu Quang Vu.

The study of plays written on historical themes has always received considerable attention from playwrights, theater professionals, and theorists and critics. Major conferences have been held, such as: the Conference on Historical Themes (1979); the Conference on Theater and Historical Themes (1996); the Seminar on Creative Stage Art on Historical Themes; and the National Scientific Conference on Literary and Artistic Creation on Historical Themes (2012). In addition to the aforementioned works, we have compiled numerous dissertations and doctoral theses from universities and research institutes that address issues related to the theory and practice of playwriting and performance.

SummaryChapter 1

To study the characteristics of the dramatic genre as expressed in plays written on historical themes (1945-1985), researchers need to identify relevant concepts. Among these, issues concerning artistic thinking, the characteristics of drama, and drama on historical themes have been of interest to many researchers. However, the specific research on artistic thinking and the characteristics of dramatic genres written on historical themes from the post-Revolution period to the pre-Renovation period has not been widely addressed in the aforementioned works. This is precisely the research objective that the author aims to achieve in this dissertation.

 

Chapter 2

VIETNAMESE DRAMA ON HISTORICAL THEMES IN DEVELOPMENT OF LITERATUREAND THEATERFROM 1945 TO 1985

2.1. The impact of historical, social, and cultural context on literary creation..

Historical periods and major national events significantly impacted the changes in literature during this era. In particular, the context of the revolutionary war and the Party's leadership in the field of culture and arts greatly influenced the goals, ideologies, and creative concepts of most writers, poets, and playwrights during this period. The 1943 Cultural Outline became a crucial theoretical document for the development of literature. The outline not only defined the content, nature, and tasks of literature but also emphasized the principles of literary development: nationalization, popularization, and scientification. This was also the most profound guiding principle influencing the entire process of Vietnamese literature from 1945 to 1975, and its influence even extended to the late 1980s. Under the leadership of the Party, literature became a pioneering weapon, a great source of spiritual nourishment aimed at strengthening the power and solidarity of the entire nation in the path of national liberation.

2.2. Unity in Diversityand the prevailing trendof literature 1945- 1985

2.2.1. The Unity of Literature 1945 – 1985

Vietnamese literature from 1945 to 1975 was primarily revolutionary literature, closely intertwined with the common destiny of the nation. In this context, literature had to meet the historical needs of the country, and art had to fulfill its primary task of serving the revolution and encouraging the struggle. The revolutionary and resistance spirit strongly aroused the civic spirit of writers. Literature, first and foremost, had to be a weapon of struggle. Vietnamese literature from 1945 to 1985 focused on the fundamental themes: defending the homeland, fighting for the liberation of the South, and unifying the country. This unity was also reflected in the popularization of literature; therefore, the masses were not only the subjects of expression but also the recipients of literature, and they also participated significantly in the literary creation process. Another unifying characteristic is that literature during this period mainly bore epic and romantic tendencies.

2.2.2. Diversity within a unified wholeHuh?literature1945 – 1985

In each different period (specifically through the development stages of literature from 1945–1954; 1954–1965; 1965–1975; and 1975–1985), literature underwent changes and progress to meet practical needs. Therefore, despite development within a unified framework, diversity remained a prominent characteristic of literature during this period. This diversity is manifested in the complete appearance of all the basic literary genres. It is also reflected in the content and methods of reflection, and the approaches to life's material in literature.

2.2.3. Epic tendencies andromanticrevolutionThis was the dominant trend in literature from 1945 to 1985.

This inspiration emerged in the works of authors during the resistance against the French, and particularly strongly influenced works written during the resistance against the Americans. Epic-style works are those with historical and national significance. The main characters represent the ideals and qualities of the community and fight for it. The revolutionary romantic inspiration is primarily expressed in affirming the ideals of a new life and the beauty of the new man, praising revolutionary heroism and faith in the bright future of the country.

2.3. The position of drama and historical drama in literature during the 1945 period- 1985

2.3.1. The robust development of the creative workforce and the themes reflected in drama.

The playwrights of this period were largely revolutionary propaganda cadres and a small number of established artists from the previous era.

In the early stages of the revolution, due to the conditions and the purpose and significance of writing and performing plays at that time, plays were mainly composed quickly and served to encourage the movement.

In the period after 1954, plays showed significant progress, with many focusing on reflecting the struggles of our army and people in enemy-occupied areas.

Dramatic activities during the anti-American war period of 1965-1975 also had many breakthroughs. The theater at this time truly became a sharp weapon of the Party in the revolution in culture, ideology, and politics; this period witnessed the strong growth of drama in both quality and quantity.

After 1975, Vietnamese drama took on a new form in the new historical context. Drama focused on two major themes: recreating the war of national liberation and post-war life; feudal historical themes began to reappear in some works by playwrights during this period.

2.3.2. Plays on historical themes in the development of drama in particular and literature in general.

2.3.2.1. Plays on historical themes in the context of the relationship between literature and history.

Historical dramas are works written about historical themes but containing fictional details and characters. However, the main events and characters are usually based on real historical events. Due to the lack of consensus on how to classify drama genres, the researcher uses the designation "drama on historical themes" instead of "historical drama".

It can be seen that plays written on historical themes during the period 1945-1985 were mainly works set against the backdrop of events and characters from the resistance wars against France and the United States. Events from feudal history were also recreated, but compared to the themes of revolutionary war, they were not as prominent. In works written about history during this period, the characters were based on real historical figures such as Ho Chi Minh, Phan Dinh Giot, Nguyen Trai, Tran Thu Do, etc., or based on real-life prototypes with altered names and hometowns, but still retaining important events, actions, and incidents in the characters' lives.

2.3.2.2. Plays on historical themes in the overall development of Vietnamese dramatic literature.

The first phase of spoken drama (1921-1930) saw plays often translated, imitated, or adapted from famous Western plays, especially those from France. The second phase (1930-1945) is considered the mature stage of Vietnamese spoken drama. With the founding of the Communist Party of Vietnam (1930), the stage in the 1940-1945 period saw a flourishing of plays on historical themes. After 1945, spoken drama on historical themes achieved even greater success than in the previous period.

In the overall development of Vietnamese dramatic literature, plays on historical themes play a particularly significant role, with many works leaving a strong mark on the Vietnamese spoken drama system. In the early stages, historical themes were often known through plays that drew plots from Chinese literature and history. Then, in the 1930s, Vietnamese historical themes began to receive attention with many plays about the past, borrowing from ancient historical settings to place themselves within characters burdened with personal thoughts and feelings, especially the feelings of scholars facing the present reality. Moving into a new phase, the theme of feudal history in spoken drama from 1945 to 1985 was somewhat more modest compared to other dramatic genres (verse drama, musical drama), instead focusing on and flourishing with plays about revolutionary war. However, with its own achievements and aesthetic characteristics, along with the penetration and influence of musical drama and verse drama (in the early stages of development), spoken drama on historical themes has formed its own poetic characteristics in reflecting historical themes.

Chapter 2 Summary

Starting from the historical and social context of the period 1945-1985, we aim to explain its impact on the landscape of literature in general and dramatic literature in particular. This impact has created unity within the diversity of literary genres. With the works we have mentioned above, we can see the role of historical themes in the overall development of literature as well as drama. Whether the theme is revolutionary war or the history of feudal dynasties, in short, the period 1945-1985 alone has produced many plays that have left a strong mark to this day, are highly regarded, and have been repeatedly staged in contemporary theater.

Chapter 3

VIETNAMESE THEATRE (1945 - 1985) ON HISTORICAL THEMES

FROM THE PERSPECTIVE OF ARTISTIC THINKING

 

3.1. Concepts of playwriting on historical themes during the period 1945 – 1985

3.1.1. Thinking about historical fiction

While fiction is an essential technique for playwrights and theater in general in conventional literary scripts, in historical drama, the art of fiction is the primary area where writers express their creativity, making the work a truly historical script. In plays written between 1945 and 1985, the role of fiction may not be particularly prominent. However, this does not mean that these plays lack fictional elements. The fictional aspect of each historical play can be expressed through the fictionalization of characters, events, and details. However, factual details or historical dates and years cannot be fictionalized.

Speaking of fictional characters, this is clearly the most noticeable trend in historical drama. Besides real people, historical dramas also feature a system of fictional characters, the most common being the lovers of historical figures. One of the most captivating forms of fiction, both for writers and readers, is the fiction of the characters' psychology, inner thoughts, emotions, and love stories. Generally, for plays written during this period, the structural nature of the works always remains within certain limits. No fictional detail exceeds the boundaries of historical fiction because these works were created within the historical context of the resistance war; the purpose of writing plays in particular, and literature in general, was to serve the revolution and encourage the fighting spirit.

3.1.2. The concept of modernity in plays written on historical themes

The approach to writing plays on historical themes during this period placed a strong emphasis on modernity, as this was a fundamental requirement for revolutionary drama. The reality of the struggle was the overarching theme in most plays. Therefore, in each work, the contemporary and topical nature was clearly expressed. People in different eras had different attitudes towards historical documents, because they were merely sources for writers to freely create based on their own intentions and perspectives. Whether each document was chosen and presented successfully, or whether it was well-received, depended on the modernity of the creative process itself.

Thus, when discussing artistic thinking in the creation of plays on historical themes, fictional elements and modernity are always the first factors mentioned, allowing researchers to understand the creative tendencies of the playwright.

3.2. Trends in Exploring Historical Themes

In the early 20th century, Vietnamese drama primarily focused on social themes, with many representative works. By the 1930s, historical drama began to gain attention with the emergence of numerous plays that used old historical stories as new lessons for contemporary audiences. After the August Revolution and into the 1980s, theater truly took on the significance of a popular art form. During this period, historical themes were explored more extensively than ever before and were divided into two main themes: the history of revolutionary warfare and the history of Vietnamese feudalism.

3.2.1. Exploring the theme of revolutionary war history

Following the success of the play Bac Son, a series of works on the theme of revolutionary history were created. These works expanded their scope to reflect the great events of the nation: Hanoi in the smoke and flames of war, major campaigns with glorious victories of our army, the land reform and the construction of socialism. Typical plays exploring this theme include: "Those Who Remain" by Nguyen Huy Tuong, "Before the Victory" by Dao Hong Cam and Sy Hanh, "The Revolution" by Nguyen Khai; "The Song of Dien Bien" by Tat Dat, "The Fire Has Started" by Phan Vu; "The Number One Citizen" by Vu Dinh Phong and Ha Van Cau, "White Night" by Luu Quang Ha, "Witness and History" by Hoai Giao…

3.2.2. Exploring the theme of feudal history

Plays set in the feudal period often draw on events from both official and unofficial histories. However, before the Doi Moi (Renovation) period, this theme appeared more frequently in musical plays. Regarding spoken drama, the number of plays on the subject of feudal history is still relatively small, but they have left a significant mark on the development of historical drama over the past 40 years. Notable examples include Luu Quang Thuan's Quan Thang Long, Hoang Nhu Mai's Tieng Trong Ha Hoi, Dang Hong Nam's Nam Mot Ngan Tu Bach, Nguyen Trai o Dong Quan, and especially Nguyen Dinh Thi's Rung Truc. Given its nature as a popular and nationalistic literary movement, these plays often take feudal history as their theme, but many of the main characters are not figures recorded in history books, or are only based on real historical figures. Figures such as Nguyen Trai, Ly Chieu Hoang, Tran Thu Do, and Tran Canh are only mentioned in plays written after 1975.

3.3. Trends in the exploitation of historical events

3.3.1. The tendency to faithfully simulate and recreate historical events based on the principle of respecting official history.

Plays about the history of the first thirty years of the resistance war have marked the heroic battles of our army and people during crucial historical moments. Glorious battles and arduous uprisings are recreated and depicted in considerable detail and with a spirit of pride. Writing about real historical events in the two heroic resistance wars of the nation, playwrights tend to base their work on the principle of respecting history; here, truthfulness in reflecting historical events is paramount.

3.3.2. The tendency to reconstruct history from multiple perspectives and to re-evaluate historical events.

While plays focusing on revolutionary war themes tend to realistically recreate historical events while respecting official history, plays set in feudal dynasties tend to recreate, reconstruct, and reinterpret historical events. Works that approach history in a dialogue with official history offer profound humanistic values ​​and significantly influence how future generations perceive past events.

3.4. Historical figures and trends in exploiting them.

3.4.1. Characters and character types

3.4.1.1. Characters

Dramatic characters serve as a medium for the author to express their ideas and concepts through the characters' actions and emotions. Characters are arguably the most crucial element, directly portraying the author's desired image and revealing the fundamental conflicts and contradictions that form the work, conveyed through the author's creative thoughts and perspectives. A deep exploration of dramatic characters also reveals the author's worldview and understanding of humanity, serving as a gateway for readers to grasp the author's thoughts, talent, and perspective on historical issues.

3.4.1.2. Character Types

There are many ways to classify characters in literature. From the perspective of a literary genre written about history, in addition to the general characteristics mentioned, we see that characters in historical plays are often constructed through a process of fiction and creation based on the generalization of phenomena in real life. Firstly, there are characters who are real but whose personalities and actions are fictionalized. Secondly, there are fictional characters based on real prototypes, whose time, setting, location, and names are altered by the authors, but still retain important events, actions, and incidents. Thirdly, there are completely fictional characters (this type accounts for the majority).

Furthermore, the thesis categorized the characters based on their relationship to history, dividing them into three types:FigureButThe subjects who make history; Characters - from victims of history to those who make history;Ncharacter- from a witnesshistory arrivesPeoplemaking historyHowever, not all characters can be clearly distinguished in their relationship with history; sometimes they are both victims and creators of history, and sometimes they are people who only want to witness history but end up participating in its creation.

3.4.2. Trends in approaching and constructing historical figures

Each playwright has different approaches to historical material. In the development of Vietnamese theater in general, and in spoken drama in particular, three approaches to dealing with historical material coexist: firstly, approaching historical figures according to the principle of absolute respect for official history; secondly, approaching historical figures from a multi-dimensional perspective; and thirdly, approaching historical figures through dialogue and re-evaluation.

3.4.2.1. The tendency to recreate historical figures based on the principle of idealization, in line with official history.

This is an approach to those who have become historical figures, revolutionary fighters, and the sisters and mothers they served as home and on the front lines.

3.4.2.2. The tendency to explore historical figures from a multi-dimensional perspective, involving a re-evaluation of history.

A multi-dimensional approach is often applied to the perspective on figures on the opposing side of the conflict and certain figures in feudal history. A multi-dimensional perspective doesn't always contradict historical accounts; what we mean here is approaching these figures from different viewpoints, perspectives that we can't find in history books.

3.4.2.3. The tendency to internalize historical figures

In the plays we surveyed, this tendency appeared very rarely and was usually found in plays about characters in a feudal historical context, especially in plays written after 1975. Some plays about the revolutionary war also contained details that revealed the inner feelings of characters when they had to make a decision. This tendency mainly focused on certain figures in feudal history, such as Nguyen Trai.Nguyen Trai in Dong Quan, in the year fourteen hundred.Ly Chieu Hoang inBamboo forest, Escape from JoyThang Long Restaurant...

SummaryChapter 3

It can be said that the concept of historical drama writing during this period was expressed through the thinking about truth and fiction, as well as modernity in the works. Through this, we can see how writers approached the creation of history. In its formation and development, plays on historical themes underwent changes in creative thinking as well as in the trend of approaching history. Genre issues such as the approach to themes, characters, and events in plays on historical themes during this period also had many unique characteristics, different from the expression of these elements in plays written before the Revolution.

Csmell4

VIETNAMESE THEATRE (1945 But(1985) ON THE TOPIC OF HISTORY -

VIEWED FROM THE PERSPECTIVE OF THE GENRE

4.1. Characteristics of dramatic conflict

Generally, conflicts in historical dramas often revolve around opposing pairs in the relationships between people, between historical figures and events and the historical context of the era. Historical conflicts during this period are often reflected through pairs of conflicts such as national conflict against feudalism/colonialism; conflict between national affairs and family affairs; public affairs and private affairs; or conflict within each individual's being. And in all these pairs of conflicts, the contradictions usually have a relatively favorable resolution and a happy ending. The play considers the conflicts already raised and resolved as simply writing about the historical theme that has fulfilled its role in that period.

41.1. ConflictNationButFeudalism/Colonial

The conflict between the Vietnamese people and the feudal invaders and corrupt monarchs, as well as with imperialism and colonialism, is one of the most fundamental conflicts. Historical dramas after the August Revolution explored national conflicts and national issues within the contemporary patriotic literary trend. These were fundamental conflicts and became the common inspiration for all literary works during the period 1945-1985… The reason why the content of dramatic literature during this period is so special is because literature is closely related to the social context. Many writers drew inspiration from uprisings and rebellions against foreign invaders as the basis for their works.

The conflicts between the Vietnamese people and the feudal invaders were clearly demonstrated between the Vietnamese people, with their patriotism and long-standing awareness of preserving their culture, and the cruelty and brutality of the feudal invaders from the North, the French colonialists, and the American imperialists. This was the inherent contradiction between the cruelty of the enemy and the fighting spirit, discipline, and humanity of our nation. These very qualities formed the strength that enabled our army to achieve victory after victory throughout the long history of our struggle (as shown in...).Bac Son, Those Who Remain, Dien Bien Phu Song, Thang Long Inn, The Fire Has Started, Up There…)

These conflicts were also manifested within the ranks of the revolutionaries themselves: on one side were the true revolutionaries, undeterred by hunger, cold, hardship, or sacrifice; on the other side were those who indulged in debauchery, embezzled the people's hard-earned money, and cowardly individuals who retreated before the enemy (as shown through...).White Night, Before Victory, History and Witnesses...

4.1.2. Conflict between National Affairs and Family Affairs; Public Matters and Private Matters

This type of conflict is often depicted by playwrights in the context of the early days of the resistance war. They place the conflict within each family, where children from the same household are on opposing sides, and this conflict is also placed above the fate of individuals – those who must choose between "staying and leaving." In works written after 1975, the conflict between national and personal affairs continues to be reflected in plays on historical themes, but from a different perspective, often the conflict between royal power and the destiny of the nation. This type of conflict is profoundly expressed in the works of Nguyen Dinh Thi.

4.1.3. Conflicts within each person's being

For plays written on historical themes, conflict is not merely about national or class discord; more importantly, it remains relevant today because the author delves into the conflicts within the individual's own being and destiny. This is exemplified by the conflict between staying in the city and participating in the resistance or evacuating the capital, as seen in the play "Those Who Remain" by Dr. Thanh's family. It's also the story of Thom's resignation or her abandonment of personal feelings to follow the movement in "Bac Son." The conflict within each person's being is further illustrated by the character of Xuan, a soldier in the Dien Bien Phu campaign, in the play "Before Victory." In later works, especially after 1975, perhaps the internal conflicts within each person's being became the most prominent element in plays, as seen in the conflicts of characters like Ly Chieu Hoang, Tran Canh, and Nguyen Trai.

4.2. Characteristics of dramatic language

4.2.1. The manifestation of monologue in drama

In the early years of the Revolution, the influence of early-century psychological drama continued to affect the authors' style of expression. The role of monologue was relatively prominent in dramatic works.Thang Long Restaurantby Luu Quang Thuan (1945) andBac SonFrom Nguyen Huy Tuong's (1946) plays to Nguyen Dinh Thi's plays, the amount of monologue has increased significantly, for example:Nguyen Trai in Dong Quan(1979) had about 7/550 andForesttburrow(1978) features up to 15 monologues. In the playThe year fourteen hundredDang Hong Nam's play also features a very long monologue by the character Nguyen Trai. Thus, it can be said that plays written on historical themes have shown an overlap in the use of monologues, a form more frequently seen in socio-psychological plays. Delving into, exploring, and expressing the inner conflicts of human beings, monologues in historical plays are dominant in quantity and demonstrate superior artistic effectiveness in quality. The frequent appearance of monologues profoundly and powerfully conveys the intense internal struggles in the mind and heart, in the emotions and reason of the characters before major turning points in their lives—turning points that deeply affect not only the fate of the individual making the decision but, above all, the fate of the nation and its people. This internal conflict brings historical figures, often shrouded in epic distance, closer to the public, to the human condition and the suffering of the human condition.

4.2.2. Developing the characteristics of dramatic language

4.2.2.1. Language that portrays historical figures

With two main themes in historical drama—revolutionary war and feudal history—the language of these plays is also divided into two distinct styles: one side using familiar, modern, and commonplace language, while the other uses an archaic, refined language. It can be said that, in terms of linguistic characteristics, plays written on historical themes tend to develop very unique and artistic qualities to express the distinctive features of the characters. These linguistic qualities are also expressed very flexibly, expressively, and closely linked to the characters' personalities and backgrounds. This is even more evident in plays, where the language is entirely dominated by the characters' dialogue, rather than through the narrator's language as in short stories or novels.

4.2.2.2. Philosophical and thematic nature

For plays written during this period, it was essential for authors to convey their personal message hidden behind artistic imagery. "Borrowing stories from the past to speak about the present" seemed to be the fundamental method for playwrights to express a specific philosophical issue when writing about history. Or some playwrights simply borrowed historical figures to explore contemporary existential issues. The philosophy of power and political status are two aspects most closely related to historical plays, simply because historical plays were influenced by the feudal era, the era of revolutionary struggle, and the era of resistance against the French and Americans.

4.2.2.3. The encroachment and intermingling of poetry in historical drama

In the realm of spoken drama, which might seem to consist only of dry dialogue, many plays are now imbued with poetic qualities. Some passages and lines can be imagined as lyrical expressions, while others intertwine numerous poems, folk songs, and proverbs. This creates an intertextual relationship between poetry and drama, between drama and folk literature (folk songs and ballads), and between the script and aesthetic figures (historical figures like Nguyen Trai, Ho Chi Minh, Ung Uy, etc.). Reading the plays of writers from this era, one notices many lines written in poetic form, with repeated words and phrases, creating a lyrical quality.

4.3. Characteristics of dramatic action

Born between 1945 and 1985, most plays were influenced by the achievements of Soviet realist drama and various theories of dramatic action. However, we find that the theories of drama by Aristotle and Stanislavski are relatively suitable when approaching the characteristics of the dramatic works we are discussing.

4.3.1. The manifestation of actions across/sequence of actions

In plays written on historical themes, as we have described above, the characters are mostly revolutionary fighters, soldiers of Uncle Ho's army. They are characters whose personalities exemplify people with revolutionary ideals. They are often characters of character and action rather than psychological characters. Therefore, most of their actions are pervasive, in which both external and internal actions are expressed in a cause-and-effect or form-content relationship.

4.3.2. The manifestation of “counter-action”

As we have analyzed above, the characters' actions in these plays still involve a few events that lead to their decisive actions. However, the anti-action aspect is not entirely clear, because ultimately, the characters' actions better illustrate the personality they displayed from the beginning. Through this portrayal of "anti-action," the plays written during this period completely break away from the tragic tendencies and instead become plays representative of the enlightened spirit of the intellectual class in the early years of the resistance.

Summary of Chapter 4

Characterized by its dramatic conflict, historical issues were explored in depth and expressed most clearly. In terms of language, plays from 1945-1985 on historical themes did not extensively use monologues; the language showed the influence of poetry and philosophical elements, contributing to the clear portrayal of historical upheavals and the characters' personalities and actions. An indispensable element when discussing the characteristics of these plays is the dramatic action. The dramatic actions of the characters in these works are primarily a series of interconnected actions, reflecting the one-dimensional nature of the characters.

CONCLUDE

1. In the development of Vietnamese literature in general and dramatic literature in particular, Vietnamese drama (1945-1985) on historical themes played a very special role in contributing the voice of the revolution and depicting the broad spectrum of life, while still expressing the complex psychological dimensions of human beings. The harmonious combination of individual and social, of individual fate and the fate of the nation, created a unique appeal without being overly forced. Within the overall development of revolutionary literature, drama also embodied unity in diversity and an epic, romantic revolutionary tendency. Having gone through many ups and downs, drama on historical themes written during the period 1945-1985 has shaped its own distinct style and trend. Unlike the early stages of spoken drama that delved into the distant past or Chinese historical narratives, and did not overly explore the personal lives and conflicts of individuals in a way that contradicted historical accounts, most of these plays successfully portrayed the interplay between the individual and society, between humanity and history, while all focusing on the issues of the nation and its people. In this process, spoken drama reached epic levels of inspiration, reflecting the glorious victories and strength of the nation. When spoken drama voiced the times, fulfilled the aspirations of the people, and instilled faith in the Party and the revolution, drama and art in general, and the masses in particular, became inextricably linked. The stage then served as the most effective medium for conveying the revolutionary and resistance ideas and ideals to the masses.

2. Because of this special role, plays from 1945 to 1985, written from an artistic perspective, dealt with historical themes and exhibited very distinctive creative concepts, emphasizing the role of fiction and modernity in their works. Even with the same historical material (characters, events, themes), each playwright would have different approaches and methods of fiction. Modernity in historical works is also something writers should strive for to make these themes more valuable than ever, becoming precious lessons for today's generation. Historical and social factors have a significant impact on the artistic thinking of each writer, shaping their creative tendencies and the way they utilize historical and social materials. In this context, the purpose of creation (for propaganda, political service, or to draw lessons from contemporary issues, etc.) will determine the approach to and expression of historical material. Artistic thinking also influences how writers approach historical material. Generally, through the process of statistically analyzing artistic concepts and thinking in drama regarding historical material, we aim to identify several trends in exploiting historical material: 1. The trend of imitating and faithfully recreating history based on the principle of absolute respect for history; 2. The trend of recreating and engaging in historical dialogue; 3. The trend of fictionalizing history. All these trends are expressed through the way characters, themes, and events are constructed and approached. However, regardless of the approach to the subject matter, artistic thinking always aims to use history as a benchmark to see the relationship between the elements expressed in the work and it. For example, the types of characters in plays of this period show the different roles of people in history. There are characters who were victims of history, suffering losses in war and turmoil; there are characters who were originally from the aristocracy, indifferent to fame and fortune, and who did not dare to stand with the working people. Yet, all these characters are guided by the revolution, awakened by justice, giving them clear vision and the strength to let go of everything and follow the light of the struggle for justice and independence.

3. From the perspective of drama, the demanding technical and performance requirements, as well as the spatial and temporal context, became secondary factors, giving way to the purpose of mobilizing the masses in the fervent atmosphere of the revolution. Therefore, the expression in the dramas of this period often tended to be one-sided. However, there were still many plays that both met the demands of current events and politics, and fulfilled basic artistic standards. The most important conflicts expressed in the plays of this period were class conflict, national conflict, and individual human conflict. With its nature, "A new type of conflict, very characteristic of spoken drama, has emerged. While in the period 1945-1954, conflict was primarily class-based, in this period class conflict faded compared to the conflict between friend and foe and internal conflicts among the people. Around these fundamental conflicts, writers and playwrights developed conflict and dramatic action along lines of qualities and ideals such as: progress - backwardness; heroism - cowardice; individuality - collectiveity; good - evil; positive - negative; protagonist - antagonist; advance - retreat." And the types of conflict as Phan Cự Đệ identified have been analyzed in the plays above. In the resistance against the French and the Americans, the conflict most frequently expressed in drama was the conflict between the nation and feudalism/colonialism. The various manifestations of conflict all point to the issues raised between the two sides of the conflict, concerning the conduct between patriots and invaders. However, the conflict between the individual/private matter and the community/public matter is considered the most intense type of conflict, and it is these conflicts that drive the plot to its climax, captivating the audience. Another type of conflict is the conflict within each individual's being, which playwrights also portray in the works we are discussing. This type of conflict is arguably the most difficult and complex, requiring characters to choose a solution. Compared to plays written after the Doi Moi (Renovation) period, this type of conflict is not as prevalent in plays written between 1945 and 1985. In terms of language, plays from 1945 to 1985 on historical themes clearly demonstrate a tendency towards generalization and contemplation. Dramatic language plays a crucial role in portraying the characters' personalities, while also reflecting the genre's unique characteristics. Each character type is developed with a distinct linguistic framework by the authors. Because character language is the dominant form of drama, through dialogue, readers can often visualize the character's personality, even knowing their origins and background. Furthermore, the language is often linked to the narrative discourse of everyday life, heavily influenced by poetry, folk songs, and sometimes even philosophical and thematic elements. Dramatic action is also a very clear characteristic of historical drama during this period. Because most of the characters in the plays are revolutionary individuals, the dramatic action is primarily conveyed through a consistent sequence of actions, accurately reflecting the nature of people of that era. The internal and external actions of the characters are not often contradictory; there is very little opposition between these two actions in the plays we are discussing. However, there are also quite a few "turning points" introduced, creating a turning point in the understanding of the characters who are still struggling to find their way. Of course, due to the influence of the social context and the creative perspective, the dramatic action here ultimately aims at the "supreme task" of expressing the revolutionary spirit regardless of circumstances and events.

4. In summary, studying Vietnamese drama (1945-1985) on historical themes from the perspective of artistic thinking and genre characteristics, with the features we have analyzed above, we once again hope to contribute to affirming the content and artistic values ​​of this particular body of work. From this, we can see the position and role of plays from 1945-1985 on historical themes in the development of drama in particular and literature in general.

LIST OF SCIENTIFIC WORKS BY THE AUTHOR RELATED TO THE THESIS

1. Tran Thi Thu (2018), “Drama written on historical themes after 1945 – viewed from the perspective of dramatic language”,Journal of Science, Metropolitan University(22), pp.55-63.

2. Tran Thi Thu (2018), “Trends in exploiting historical events in plays written on historical themes from 1945 to the present”, Proceedings of the National Scientific ConferenceTeaching and Researching Vietnamese Studies and the Vietnamese Language – Theoretical and Practical Issues, National University of Ho Chi Minh City Publishing House, pp. 694–700.

3. Tran Thi Thu (2018), “Forms of dramatic conflict in historical drama”,Culture and Arts Magazine(410), pp.90-94.

4. Tran Thi Thu (2018), “Historical drama in Vietnam from 1945 to the present - themes and characteristics of character development”,Ho Chi Minh City Journal of Social Sciences(10+11), pp.108-116.

5. Tran Thi Thu (2019), “Trends in approaching historical figures in Vietnamese drama on historical themes from 1945 to the present”, Proceedings of the International Scientific ConferenceResearch and teaching of Vietnamese language and Vietnamese studies in universities., National University of Hanoi Publishing House, pp. 659-669.