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Yihe Xue
Theater Review Assignment
11/17/17
The Formal Features of Oppression
The plot design is a major feature of the drama. The play is based on real stories that
happened to Shuhe, a friend of Ding Xilin that already past away. At that time in Beijing, you
must have a family to rent a place. Shuhe would not find a place because he didn’t get married1.
Using the material, the author designed a comic story: the landlady is not willing to rent the
house to a single male tenant because of her deep-rooted feudal thoughts and she is afraid of her
daughter having free love. Coincidentally, a single female tenant appears and she would like to
pretend to be the man’s wife. Finally, the landlady is fooled by them. This is a typical comic
story design. Protagonists and audiences all understand the truth, but the landlady is kept in dark.
The embarrassment of her is ludicrous and amusing.
Another comic plot is that the male and female tenants made the decision on a whim
rather than planning it sophisticatedly, which fully displays the comic effects. The story should
have been a dead-end since one doesn’t rent the place no matter what and another definitely want
the place. However, an unexpected sentence from the female tenant “How about letting me be
your wife?”2 suddenly brings a wonderful transition, which allows audiences a knowing smile.
The play is also successful for its language usage and the characters’ dispositions. The
landlady treats single men as threatening monsters due to her deep-rooted feudal ideology.
1
2
Ding Xilin, Oppression (New York: Columbia University Press, 2010), 152-153.
Ding Xilin, Oppression (New York: Columbia University Press, 2010), 162.
Seeing her determined resolution of driving the male tenant away, no wonder the maid says “the
madam’s disposition is far too eccentric.”3
The male tenant is an honest and frank intellectual. He likes debating when seeing
something unfair. He says “As the landlady, naturally it’s up to you to decide who can rent this
place. But since you’ve already rented it to me, it’s up to me now to decide whether to move in
or withdraw from the contract. You know, it is no longer a matter of you not renting, but instead
a question of my not withdrawing.”4 His eloquence surprisingly turns his passive position to
active. “Two eccentrics bumping into each other”5 starts an exciting conflict.
The author gives the female tenant an introduction: “The moment she enters she begins
talking. Once she starts talking, she seems unable to stop herself.”6 The straightforwardness and
warm-heartedness are the comic features of the character’s disposition. That is why she
suggested them to “finish venting” when encounter the “insult”7.
There is an important dialogue between male and female tenant:
MAN: None at all. That’s for sure. But are you really willing to do this?
WOMAN: Why wouldn’t I? It won’t do me any harm. After all, I’m not really going to
be your wife.
MAN: Well, thanks a lot.
WOMAN: Now don’t get me wrong. I’m not saying that being your wife would be such a
terrible thing. But that’s a completely separate matter.
MAN: Yes, that would be a completely separate matter. Nevertheless, I must thank you
for helping me resolve this room rental problem.
3
Ding Xilin, Oppression (New York: Columbia University Press, 2010), 154.
Ding Xilin, Oppression (New York: Columbia University Press, 2010), 155.
5
Ding Xilin, Oppression (New York: Columbia University Press, 2010), 154.
6
Ding Xilin, Oppression (New York: Columbia University Press, 2010), 156.
7
Ding Xilin, Oppression (New York: Columbia University Press, 2010), 160.
4
WOMAN: No need for that. When the landless proletariat are oppressed by the
propertied classes, we should unite and resist them together!8
Their conversation seems silly but still very affable and amusing. Especially the woman’s
explanations, making people can’t help but laugh.
The secondary characters are also depicted carefully by the author. The maid has a kind
heart but she’s too smart. The police officer, with only a few lines, also possesses comic
disposition. He has a serious attitude towards his job but he acts too dull. For the audiences, the
more serious he acts, the more ridiculous he looks.
From the sophisticatedly designed plots and protagonists’ dispositions, we can clearly see
a conflict between old and new thoughts, where the landlady represents traditional Chinese
ideology and the young tenants represent more liberalism thinking. I believe that most of people
from nowadays would criticize the landlady for her biased cognition and support the “couple” for
having the right and freedom to decide for themselves even they lied. However, I don’t think
most of the common people from 1920s would think the same. They would be so confused about
what is right and wrong and don’t know what to do. On the one hand, most of them were
educated with traditional culture which is already inherited for thousands of years such as
arranged marriage and social classes. On the other hand, the equal and freedom thoughts from
the western world seem much more respectful to human nature. They would be, in the case of the
truth and the future of the society, at sea.
Bibliography
Chen, Xiaomei. The Columbia Anthology of Modern Chinese Drama. Vol. Oppression.
New York: Columbia University Press, 2010.
8
Ding Xilin, Oppression (New York: Columbia University Press, 2010), 162.
…
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