BEIJING OPERA, BERTOLT BRECHT AND CONTEMPORARY CHINESE DRAMA: FROM SELF-OBSERVATION TO THE NEUTRAL ACTOR

• Authors: Labedzka Izabella
• Languages of publication: EN

Abstracts

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.

Keywords

EN

BERTOLD BRECHT; CHINA; CHINESE THEATRE; CONTEMPORARY CHINESE DRAMA

• Publisher: Instytut Kultur Śródziemnomorskich i Orientalnych PAN
• Journal: Acta Asiatica Varsoviensia
• Year: 2010
• Issue: 23
• Pages: 7-23
• Document type: ARTICLE

Contributors

author

Labedzka Izabella

• Izabella Labedzka, The Department of Asian Studies, Adam Mickiewicz University in Poznan, Miedzychodzka 5, 60-371 Poznan, Poland

Identifiers

CEJSH db identifier

11PLAAAA093715