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Gao Xingjian and Chinese experimental theatre.

机译：GA o xing见and Chinese experimental T heat Re.

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摘要

This study focuses on the life and works of Gao Xingjian, a leading Chinese experimental dramatist in post-Mao China, and his zealous search for an alternative theatre in the 1980s. Acclaimed by critics both in China and overseas as the Chinese counterpart of European innovators of avant-garde theatre, Gao has exerted a great impact on the destruction of Socialist realism and Maoist discourses in the political mission of theatre. Gao's experimental theatre is not only one of the earliest attempts to reject the institutionalized spoken-drama theatre which, since the founding of Communist China, has been utilized as the mouth-piece of the Party's politics but also provides an example of welding Western modernism with China's ancient cultural roots.; This study consists of a historical survey of the rise and fall of the spoken-drama theatre and its role in the political life in China, a biographical survey of Gao's life and his confrontations with Chinese cultural authorities, close analyses of his four major plays, Warning Signal, The Bus-Stop, Wild Man, and The Otherness, and finally, a summary of Gao's theatrical ideas and theory. The thesis applies a reader-reception approach to the analysis of both the dramatic texts and actual performances, and shows how the ambiguity in Gao's dramatic texts and the symbolism in his stage presentation have been strategically employed to circumvent censorship and yet maintain a truthful perception of reality.; The analyses of his plays show that even though Gao claims his theatre to be apolitical, the feelings of agony, confusion, and despair which Gao projects into his dramatic characters are unmistakable evidence of Gao's sharp criticism and disillusion with the political situation in China. While his theatrical vocabulary becomes richer and richer with each play, his vision of reality becomes darker and more bitter. Running through the four plays is an overriding theme of escape--escape from gernotocratic power, from the destructive mentality of the majority, from the polluted city life, and from the consciousness of guilt, all of which parallel the playwright's own life and experiences in China before he moved to Paris as a "political refugee."; The study concludes with a discussion of Gao's theatrical ideas and theory about what he calls a total theatre. It summarizes Gao's position in the national debate about the nature and ultimate function of theatre. It reviews Gao's advocacy for an actor's theatre and his observation of the three identities which Chinese opera actors assume during performance. Also discussed is Gao's rejection of a dialogue-based verbal theatre and his experiments in using verbal utterance as one of many components in an audio and visual stage orchestration.
机译：这项研究的重点是后毛泽东时代的中国领先实验戏剧家高行健的生活和作品，以及他在1980年代热衷于寻找其他剧院的想法。在国内外，批评家都称赞其为欧洲前卫剧院创新者的中国代表人物。在剧院的政治使命中，高对破坏社会主义现实主义和毛主义话语产生了巨大影响。高氏的实验剧场，不仅是最早拒绝制度化的口语剧场的尝试之一，自从中国共产党成立以来，这种戏剧化的剧场就一直是党的政治的代言人，而且还为将西方现代主义与中国的古老文化根基。这项研究包括对口语剧场的兴衰及其在中国政治生活中的作用的历史调查，对高生的生平及其与中国文化当局的对抗的传记调查，对他的四部主要戏剧的详尽分析，警告信号，急停，野蛮人和其他，最后是高的戏剧思想和理论的摘要。本文运用读者接受的方法对戏剧文本和实际表演进行了分析，并显示了高的戏剧文本的模糊性和其舞台表演中的象征意义如何被策略性地运用来规避审查制度，同时保持对现实。;对他的戏剧的分析表明，尽管高声称自己的戏剧是非政治的，但高投射到他的戏剧人物中的痛苦，困惑和绝望的感觉，无疑是高对中国政治形势的尖锐批评和幻灭的明显证据。尽管他的戏剧词汇随着每场戏变得越来越丰富，但他对现实的视野却变得越来越黑暗和痛苦。贯穿这四部剧本是逃避的首要主题-逃离德国人统治力量，多数人的破坏性思维，污染的城市生活以及罪恶意识，所有这些都与剧作家的生活和经历相平行。在他作为“政治难民”移居巴黎之前的中国。该研究以对高的戏剧思想和理论的讨论作为结束，这就是他所说的总剧院。它总结了高在国家关于剧院的性质和最终功能的辩论中的立场。它回顾了高对演员剧院的拥护，以及他对中国戏曲演员在表演中所采用的三种身份的观察。还讨论了高反对基于对话的言语剧场，以及他在语音和视觉舞台编排中将言语作为许多成分之一的实验。

著录项

  • 作者

    Zou, Jiping.;

  • 作者单位

    University of Illinois at Urbana-Champaign.;

  • 授予单位 University of Illinois at Urbana-Champaign.;
  • 学科 Theater.; Literature Asian.; Biography.
  • 学位 Ph.D.
  • 年度 1994
  • 页码 211 p.
  • 总页数 211
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 公共建筑;传记;
  • 关键词

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