Brecht in Asia and Africa 
 
 
surprise, numbness, pain or struggling faces, figures of arms. A 
drummer was placed at an outstanding place on the stage, and the drum 
beats would control the rhythm of the performance. A play is only a play.

It isn't real life. Dramatic art is only the other shore of reality. It only

serves the purpose for the audience to compare the story in the drama 
with reality. For example, Xiao Xiao forgave all the passengers, but 
whether the audience forgives them or not is the choice of real people. 
    Xiao Xiao did not receive any special attention during his life time.

Before his death he asked to join the Communist Party, but the Party 
Organization did not need him. But after he died, he was posthumously 
admitted as a member of the Communist Party. And according to the 
necessity of social propaganda, he was preached as a "hero". Society

not only distorted the living being but also distorted the dead. There was

a funeral and a memorial meeting in the drama, but the "hero" always

wanted to laugh, so he was always destroying the solemn and 
respectful atmosphere of the meeting. The elegiac couplet of the 
meeting wasn't in praise of the dead. The first line of the couplet was 
"How could the story on the stage not exist in the world?" The
second 
line of the couplet was "The character in the drama is often among the

audience." This told the audience that this is nothing more than 
performance. The whole drama is composed of a number of passages. 
Each passage can be independent. The technique which is adopted in 
the narration of the living passenger is that the reality and recollection

alternately appear on the stage. Narration and performance are 
combined together. From unheroizing the leading character in the drama 
to the application of various Verfremdungseffekte, we can see the 
influence of Brecht's drama. Of course there are some factors that do 
not belong to narrative drama, such as the inclusion of the dancing 
scene. 
 
 
 
                                NOTES 
 
 
 1. Lu Xun, The Complete Works of Lu Xun, Vol. 1, 1958, pp. 322 (Chinese

    edition). 
 2. Lu Xun, The Complete Works of Lu Xun, Vol. 6, 1958, pp. 258 (Chinese

    edition). 
 3. Lu Xun, The Epistolary Collection of Lu Xun, Vol. 1, 1976, pp. 261 (Chinese

    edition). 
 
 
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