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Gao Xingjian's idea of theatre: from the word to the image by Izabella Labędzka, Barend J Haar

By Izabella Labędzka, Barend J Haar

This publication argues that Gao Xingjian's suggestion of Theatre can in basic terms be defined through his wide wisdom and use of varied chinese language and Western theatrical, literary, inventive and philosophical traditions. the writer goals to teach how Gao's theories of the theatre of anti-illusion, theatre of wide awake conference, of the "poor theatre" and overall theatre, of the impartial actor and the actor - jester - storyteller are derived  

Chinese avant-garde: new tendencies in chinese language exploratory and experimental theatre
Actor within the house of phantasm and anti-illusion
New narrative strategies
From realism to sur-realism: poets of the absurd and the grotesque
Between existence and loss of life, truth and dream: in the direction of an oneiric imagination
In seek of the complete theatre

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Gao Xingjian's idea of theatre: from the word to the image

This ebook argues that Gao Xingjian's inspiration of Theatre can in basic terms be defined through his extensive wisdom and use of assorted chinese language and Western theatrical, literary, inventive and philosophical traditions. the writer goals to teach how Gao's theories of the theatre of anti-illusion, theatre of unsleeping conference, of the "poor theatre" and overall theatre, of the impartial actor and the actor - jester - storyteller are derived from the a ways japanese culture, and to what quantity they've been encouraged via twentieth century Euro-American reformers of theatre resembling Antonin Artaud, Bertolt Brecht, Vsevol.

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An avant-garde theatrical work is characteristically fragmentary, bears a sense of being unfinished and its open structure requires completion on the part of the audience. Authors want their works to be open in order to encourage multiple interpretations, in stark contrast to previous dramas of socialist realism which preferred a closed structure of transparent and unambiguous messages. Contemporary Chinese avant-garde is characterized by this ability to combine passion for experimentation with a sensible approach to tradition, both native and foreign.

From the late 1980s onwards, theatre groups would partially leave the theatre building and stage performances outside in order to engage more fully with the audience. In 1989, when the Shanghai People’s Art Theatre staged Sun Huizhu’s Tomorrow He’ll Be Out of the Mountains (Mingri jiuyao chushan) they used the lawn in front of the theatre as well as the building itself. 31 In 1994, Anton Chekhov’s (1860–1904) The Cherry Orchard was staged in the halls, staircases and garden of the Central Academy of Theatre in Beijing.

On the threshold of the Cultural Revolution, 7 Tai Yih-jian, “Stanislavsky and Chinese Theatre”, p. 49. Odette Aslan, L’Acteur au XXe siècle. Évolution de la technique. Problème d’éthique, Paris 1974: Éditions Seghers, pp. 77–78. 9 Tai Yih-jian, “Stanislavsky and Chinese Theatre”, p. 51. 10 Ibid. pp. 54–58; see also Hu Xingliang, Ershi shiji Zhongguo xiju sichao (The trends of Chinese drama of the twentieth century), Nanjing 1995: Jiangsu Wenyi Chubanshe, pp. 290–310. indd 35 5/28/2008 6:56:56 PM 36 chapter two Stanislavsky’s method was considered to be the essence of bourgeois thinking.

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