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Young, brave heroes of popular war dramas
By Tao Jiming |
June 29, 2009, Monday
|
Print Edition
Print Edition
ZHA Liangjing, writing under the pen name of Tian Lu, spent all his life working on writing, directing and reviewing plays. The person who influenced him most was his cousin Qu Baiyin.
The two cousins, together with Ge Yihong, grouped as the Blizzard performing group, aiming to inspire people and promote the culture. Zha was known as one of the "three virtuosos in Jiading's modern drama."
Zha highly admired Tian Han, the Chinese national anthem lyricist, and Lu Xun, the famous Chinese writer. His pen name was formed by the two great people's surname, Tian and Lu.
After the War of Resistance Against Japanese Aggression broke out, Zha started his playwriting career with the production "The Glorious Return," vividly depicting the calm and peaceful life of the citizens before the war and how the young and the brave went to the front to fight and finally returned in victory.
The play was staged in Shanghai Xinguang Theater and received great comments from the audience.
"The anti-Japanese plays were an important part of the movement. They reflect the Chinese people's passion for their own country," said Zha in his review of Kunming plays in 1940.
The two cousins, together with Ge Yihong, grouped as the Blizzard performing group, aiming to inspire people and promote the culture. Zha was known as one of the "three virtuosos in Jiading's modern drama."
Zha highly admired Tian Han, the Chinese national anthem lyricist, and Lu Xun, the famous Chinese writer. His pen name was formed by the two great people's surname, Tian and Lu.
After the War of Resistance Against Japanese Aggression broke out, Zha started his playwriting career with the production "The Glorious Return," vividly depicting the calm and peaceful life of the citizens before the war and how the young and the brave went to the front to fight and finally returned in victory.
The play was staged in Shanghai Xinguang Theater and received great comments from the audience.
"The anti-Japanese plays were an important part of the movement. They reflect the Chinese people's passion for their own country," said Zha in his review of Kunming plays in 1940.
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