Chinese avant-garde theater: to the definition of the concept
DOI:
https://doi.org/10.32461/149886Keywords:
avant-garde, Chinese avant-garde theater, Chinese Drama, traditional Chinese Theater, Chinese experimental theaterAbstract
Purpose of Article. The goal of the research is to describe the features of Chinese theatrical avant-garde of the late 1980s — early 1990s; to square the conventional European concept “avantgarde” with the theater searches in China on the basis of creative principles of the major representatives of Chinese theatrical avant-garde, including Lin Zhaohua (1936), Mou
Sen (1963), Meng Jinghu (ЖШЩ 1966), their landmark performances and comparative analysis.
The research methodology includes comparative historical, biographical, and historical typological methods. The scientific novelty of the research consists in the fact that it is the first attempt in Ukraine to consider Chinese avant-garde theater in terms of European interpretation of this direction. Conclusions. The problem of European terminology adaption to the realities of Chinese theater is set up, Chinese avant-garde theater is suggested to be considered as a guide and “interpreter” of the ideas of European theatrical culture for the Chinese audience.
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