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  1. 2 Acta Asiatica Varsoviensia

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  1. 2 Labedzka I.

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  1. 1 2010

  2. 1 2005

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BETWEEN TRADITION AND AVANT-GARDE. IN SEARCH OF MODERN CHINESE THEATRE

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Labedzka I.
Acta Asiatica Varsoviensia
|
2005
|
vol. 18
55-70
EN
The article aims at presenting modern Chinese theatre and its development. It was based on Chinese studies concerning art, especially modern theatre, in China. At the end of the 1970s, the spirit of experiment began to revive in China. It can be observed in one of the currents of theatre and drama of two recent decades: the searching theatre (also called the theatre of experiment or the avant-garde theatre). This theatre is a melange form and a meeting place for various arts. The performance has a process-like character. The new Chinese theatre attaches considerable importance to the interaction between the actor and the spectator which occurs within a concrete space (not always the traditional stage). Until the mid eighties, the new theatre in China had been developing in almost absolute isolation from world theatre. Then, Chinese avant-garde artists came to gravitate towards the West. It resulted in changes of the repertoire of the experimental theatre which, apart from Chinese dramas, started to stage plays by Genet, Ionesco, Beckett, Fo, O'Neill and modernized Shakespeare. The young theatre also more and more often reaches for texts which have not been written to be performed on stage, such as File 0 (Ling dang'an) based on a poem by Yu Jian. Chinese experimental theatre is the triumph of intellect. The exposition of the intellectual character of a theatrical work positions it closer to the Western avant-garde. Modern Chinese avant-garde combines passion for experiment with a wise approach to tradition, both native and foreign.
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BEIJING OPERA, BERTOLT BRECHT AND CONTEMPORARY CHINESE DRAMA: FROM SELF-OBSERVATION TO THE NEUTRAL ACTOR

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Labedzka I.
Acta Asiatica Varsoviensia
|
2010
|
issue 23
7-23
EN
The article aims at presenting Bertolt Brecht's theatrical concepts and their influence on the contemporary Chinese theatre. His plays began to reappear on Chinese stages in the late 1970s and were performed by experimental and professional theatre groups in Hong Kong and Taiwan, particularly in the 1980s. However, a narrow group of Chinese artists got acquainted with the aesthetics of Brechtian theatre, propagated by Huang Zuolin, in the 1950s. Brecht was then seen as an inspiring source of theatrical quest by Gao Xingijan in the 1960s. The article analyzes the concept of actor and models of acting developed by Gao Xingijan and Bertolt Brecht. The emphasis placed by the Chinese theatre on the actor and acting techniques turns out to be fully compliant with what Brecht was searching for.
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