In general, drama historians deemed the Spring Willow Society's performance ofla Dame aux CameliasandUncle Tom's Cabinin Tokyo as the beginning of modern Chinese drama.
Japanis a neighboring country ofChina. The social progress it had made since the Meiji Restoration, attracted many ambitious Chinese young men. That is why in the early period of the 20th century,Chinawitnessed a burgeoning number of Chinese youth going toJapanfor studies. In the winter of 1906, the Spring Willow Society, an organization devoted to the study of various literatures and arts, was founded by some Chinese students inTokyo. At the beginning, the society had only one performance department presided over by Li Shutong. Among its main members were Ouyang Yuqian, Wu Wozun, Ma Jiangshi and Zeng Xiaogu. Most of them were enthusiastic about drama and highly praised the "New Japanese Drama" and they took it as their obligation to research and imitate the New Japanese Drama.
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In the spring of 1907, the Spring Willow Society performed the third act of Alexander Dumas's famous playLa Dame aux Cameliasin Tokyo and was well received by both the Chinese and Japanese audiences there. They "adopted colloquial Chinese, soliloquy and aside instead of recitation and singing" in the performance. Such a performance can arguably be categorized as modern Chinese drama.
Inspired by the success ofLa Dame aux Camclias, the Spring Willow Society members before long adapted Harriet Beecher Stowe'sUncle Tom's Cabininto a five-act play and put it on stage.
Reflecting the oppressed people's rebellious spirit, the play was very realistic in content. The division of the play into acts, telling the story with dialogues and activities plus true-to-life stage characters, confirmed the birth of an unprecedented dramatic form inChina. Later, this form was labeled as Modern Chinese Drama.
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