Antonin. Artaud And Chinese Modern Theatre

Antonan.Artaud is a famous dramatist in the 20th century.His drama theory and creative practice redefines the main body and form of drama and ushered in a new era of European and American drama.This article mainly discusses the influence of Artaud’s cruel drama view on contemporary Chinese drama.The thesis is expanded from four chapters:The introduction mainly tells the purpose and significance of Artaud’s research on the influence of contemporary Chinese theatre,and analyzes the status quo and deficiencies of domestic and foreign research.The first chapter analyzes and interprets Artaud’s cruel theater view,discusses the reshaping of contemporary Chinese theater concepts in the three issues of the nature of theater,the relationship between performance and aesthetics.Artaud believes that the essence of drama is cruel,and drama is the ghost of life,and like the plague,it uses intuitive perception to purify the abscesses of society;in the relationship between performance and performance,he emphasizes the dual presence of the audience in physical space and psychological experience.In order to achieve a spiritual experience similar to primitive religious rituals;in terms of aesthetics,he advocates that drama is metaphysical and should create a unique space poetry for theater.The second chapter introduces the influence of Artaud’s cruel theatre view on Chinese contemporary script creation.From the use of a single textual language to the use of an overall theater language,the script creation takes the contemporary Chinese playwright Gao Xingjian as an example to analyze the inheritance and development between his theory of "polyphony" and "freedom" and Artaud’s cruel theatre view.The third chapter analyzes the influence of Artaud’s cruel theater view on the practice of Chinese contemporary theater.In terms of the concept of director,Artaud opposed the literaryization of drama and advocated the realization of "total drama",which contributed to the establishment of the central position of Chinese contemporary theater directors.The focus of actor performance shifted from lines to "body",and the theater stage emphasized "atmosphere." "The shaping of "space".Artaud’s cruel theatre view also provides theoretical support for the occurrence of China’s avant-garde drama movement.At the end of the article,the article uses avant-garde director Tian Qinxin as an example,to analyze the relationship between her "cruel" and "compassion" and Artaud’s Theatre of Cruelty.