Research On The Phenomenon Of "Post-drama" In Performance Dimension

The advantage of the traditional drama in drama performance is that actors play different roles and reproduces the whole story by their stage organization,showing subtle,suitable and vivid twists and details in the plot,manifesting the roles’ character and fate,and revealing the interactive relationship between the characters in order to triggers the audience’s empathy and gain their approval.With the development of the society and artists’ continuous exploration,many new forms of theatrical performance have emerged.There are some similar characteristics in such fluid,vivid,varied and pluralistic theatrical performances,such as beyond understanding,weakening the text and making up,but emphasizing the atmosphere,reducing the dramatic elements and extending the theatrical factors and so on.Compared with the experimental,absurd and frontier plays,"post-drama" is better to describe the non-traditional,ideological,experimental and frontier performances of these new types of drama,and generalize the motive and the view of art behind the characteristics and innovation.The names of "anti-text","non-text","anti-plot","non-reproduction" using “anti” and "non-" as prefixes in the past cannot deliver and generalize the meaning of "Post-drama".The performance structure of "Post-drama" deconstructs the creative logic of the traditional theatrical performances,in which characters and plots are the core,actions and conflicts are the basis,and scenes,stages and performances are the expressive forms.The non-ideal,the physical,the mobile,and the theatrical intrinsic energy are presented more in its creative ideas and techniques.Besides,its performance scene is from realism to nihility,focusing on the energy and atmosphere of the theatre field.Professor Reyman’s theory of “Postdramatischs theater” focuses on the innovative phenomena of these theatrical performances,covering the theatrical performances tending to post-drama from a historical perspective.Actually,the ways and effects of the performance are prominent in "after".Therefore,this paper proposes to use "after" instead of "not" as a prefix naming,more general and inclusive.The "post-text" can include the creative dramatic text creation which is different from the traditional one,no longer laying the script as the center;it may be the stream of consciousness,the fragmentation,the non-integrity and the non-closure.Those that does not emphasize the role-play,but concentrate on the show and performance are called "post-performance".Non-traditional ways and relations of watching performances give audience a chance to participate in the performance,which is called "post-connection".The theatre highlighting the particularity of the theater and the performance effect,different from the traditional one,the non-frame stage,is called "post-theater".The performances which are different from the traditional drama but are not formed into the mature "post-drama" are called "post-drama performance phenomenon".The phenomenon of "post-drama" has not come into being today,and its aesthetic independence is far greater than the creative and real stage appearance.Although it deviates from the old dramatic style,and has not formed a clear creative characteristics of the region(different country or nation),it is always inseparable from the performance.Looking back,the common trend of "post-drama" in performance is that the "presence" of "performance" gradually inclines to the "event",and pays more attention to its "experience"."Post-drama" is still constantly showing the potential vitality and new features,even renewing the experience mode of "performance",including the expansion and development on the tradition,the reflection,revision and transformation on the drama ideas,the breakthrough,resistance and subversion on the drama limitation,and even the perfection,innovation and transcendence on the drama techniques.Although there are some disputes about the translation and introduction of the Postdramatis Theater in China,it does not affect its theoretical practice and the development of the post-drama context in performance,and there is room for further interpretation.Combined with the acceptance and development of "post-drama" in China,this paper explores the limitations and potential problems of "post-drama" from the performance dimension,finally preliminarily outlines the present situation of Chinese drama performance and creation in the context of "Post",and sums up the inner creative spirit as well as inherent composition of the scene in performance between east and west nations by means of“regulating the breath”,“shaping”,“keeping the spirit” and “extending the difference” with creativity.Based on this,we can further understand the “post-drama” form of drama performance,constantly summarize its characteristics,and further explore the mission and responsibility of the drama art.