German Classic In Chinese Theater

With the theory of theatrical semiotics of Fischer-Lichte and the concept of interculturality of Wierlacher as research methods, this Master-thesis deals with the experimental intercultural theatre practice Kunqu-Faust. This theatre will be analyzed from a semiotic and cultural perspective, and the issue of conversion and transfer between eastern and western culture will be addressed.The researches on the intercultural theatre have made great achievement in both western and eastern academia. The western scholars take a theatrical, anthropological, ethnological and postcolonial perspective, and have built a systematic theoretical basis for their research. The most applied research methods are performance theory, theatrical semiotics and hermeneutics. On the Chinese side, theatre researchers mainly focus on the practical application of Western theories and somehow lag behind in theoretical studies. In particular, the analysis of selected European classics in the form of Chinese theatre becomes more and more popular. However, regarding the analysis of German Classics that are adapted to Chinese theatre form, there have been no studies or articles so far. Hence, in an attempt to fill the gap in this area, this thesis focuses on the analysis of an intercultural production, namely the Faust-theater in Kunqu-Form, using the method of theatrical semiotics.The following questions will be addressed in this paper:From the perspective of theatrical semiotics, how is the German classical tragedy Faust represented in the Chinese Kunqu art? How are the different symbol systems shown and how do they produce meanings in the performance? From an intercultural perspective, how is the identity of German Faust built on the Chinese Kunqu-stage? What is the roll of interculturality in this intercultural theatre experiment? Fischer-Lichte takes the theatrical symbols, which are culturally determined in the process of meaning production and reception and follow certain codes, as cultural systems. The fictional character or conventionality and stylization of the Chinese Theatre lead to the simplification of all the elements on the stage, so the meaning is usually transmitted through the simple use of props and certain arts of representation. Since the Chinese Xiqu-theatre is characterized by the peculiarity of generating meanings through conversion or interaction between different symbol systems, the code conversion will also be analyzed. From the intercultural perspective, the interculturality is both the starting point and the ultimate goal of intercultural practices. Wierlacher holds the opinion that a third order will be produced through the interchange of perspectives in the process of intercultural contacts and conflicts. The creative milieu in this third order would offer the interaction partners a brand-new and specific perspective of reflecting on their own cultures and thus improving themselves. The Kunqu-Faust-theater is an experimental attempt of artist Ke Jun as an intercultural production. The confusion and perplexity that Faust had when he was faced with Mephisto’s temptation echoes with the conundrum of Kunqu in the domain of contemporary arts. Meanwhile, Faust’s relentless effort put in practices and explorations also runs parallel with what Ke Jun perceives as the true art of Kunqu. Through this productive effort, Ke Jun aimed to demonstrate his own perception of and attitude towards life and art. So this could be regarded as cultural transfer between the two cultures.As a conclusion, in this Kunqu-experiment of Faust-theatre there is not only the theatrical semiotic code conversion but also the cultural transfer. The interculturality resulting from this process serves on the one hand for the Chinese culture as emergency measures for revive and self-reformation, and enables for the German culture on the other hand a brand-new perspective and angle to look at and perceive itself.