The harmonious and harmonious development of world cultures is the eternal aspiration of humankind. In the world's common theatre stage, when the blonde juliet came up with the water sleeve, romeo at the end of the month made a passionate statement in the chinese music, the encounter between the opera and romeo and juliet was undoubtedly the best proof of “one world, one stage”。
On the morning of 5 november, professor lin io of the chinese academy of circus brought a different kind of drama to the audience, and her presentation of “looking for a common stage for the chinese-western theatre” gave rise to reflection。
Professor lin il addressed the beijing forum (2011) art sub-forum
It is true that the search for a common stage for the central west theatre and the building of a bridge of dialogue between the central west and the central west are common pursuits, yet we have to face the reality of cultural differences in the central west: china's drama is based on virtualism, as mr. Baek cheon yong has said, “a single fan has been able to live up to the full range of flowers and flowers” and, in addition to this neglect, captures the core beauty of art in objectively real performances; and western drama emphasizes the writing of reality, with the entire scenery and even the performance of actors pursuing a veritable image and absolute truth. How can this difference be reconciled to bring about a convergence of central and western theatres
In response, professor lin yi gave an example from the 1930s. In 1935, chinese drama master melanfan was invited to visit the soviet union, not only to raise the “kyoto fever” of the soviet union, but also to create new thinking about the “real” western theatre culture, which is becoming more of a development bottleneck. For example, the german dramatist brecht, who emphasized the dramatic narrative, was excited to note that melanfan had reached the perfect level of art in his mind and, a few years later, had written the play "the gun of the mother of calaar" , which fully drew on chinese theatre art。
“so the chinese-western drama is not indistinguishable, and can be said to be subjectively willing to complement each other.” professor linichi smiled. She said that western drama, for example, must be extremely sad and twisted, and when they saw the chinese play, they found for the first time that the half of their faces, their hands covered, their little shivering shoulders, could show the way their throats were exhausted, and they were so beautiful. She said that she raised her right hand to the press to demonstrate the "cry" in the chinese play, which was soft。
But there are also objective obstacles to this interaction and learning - – china’s musical actors have begun to practice at a very young age and have solid basic skills – so-called “child work” – without which it is difficult for actors to show the beauty of their performance on the stage as they are “between freedom and restraint.” as a result, it is difficult for western actors to grasp the symphony of chinese play。
In the search for a common stage in the chinese-western theatre, the chinese school of theatre, together with the u. S. University of the arts, has undertaken a series of courageous and creative attempts to develop a whole new layout of the chinese-western theatre. The first, in the form of a kyoto play, with westerners performing western plays, is still the original language of dialogue, as shown by professor lin il at the forum, romeo and juliet, and the second, the complete transformation of western theatre into a kyoto play, where they have adapted the words cherry garden, tragic world, andersen’s fairytale nightingale. The third is theatre, adapted by mutual integration and excellence, and the co-production of many forms of artistic work that incorporate the elements of the play, such as the film anatomy titus。
Referring to the reasons for the temporary change, professor lin said that the original topic of “innovated talent-building mechanisms for traditional arts” would be somewhat more theoretical for non-inherent researchers. “now that china’s play is getting more and more popular, there are not many chinese performers out of china’s country, compared to the needs of foreign audiences. Now, while there are scholars who convey the chinese drama to the west, there are more theoretical things, and there is still a lack of sensitivity for foreigners, professor lin said, “so i have shown some videos that i want to use to impress upon western scholars the charisma of chinese drama.”
Having said that, she was humbled by the fact that, only the day before the statement had been made, it had been very hasty and brief. But it is this kind of plentiful speech and display that brings the taste of the world's common arena to the harmony of the central and west drama。
