A Study Of The "Physicality" In Contemporary Theater

In the 20th century,Chinese and western drama scholars gradually realized that the "mutual integration" of Eastern and Western drama would become the development trend of world drama.From the development of Bergsen’s intuitionism and stream of consciousness in the 20 th century,we can see the rise of humanism in Western culture.This intuitionism emphasizes creativity,irrationality and unconsciousness,and turns people’s vision from external observation to internal experience and discovery.Its humanistic thought greatly promotes the development of Western philosophy,psychology and art.It includes the reflection of tradition in the dramatic arts and the exploration of creating new "dramatic performance moments".Since the beginning of the 21 st century,the development trend of drama has further moved towards theatrical and cross-cultural drama.Influenced by this trend,the research on the theory of physicality in contemporary theater is divided into three levels: The first level analyzes,distills and summarizes five dimensions of the study of the body in contemporary theater from a macro perspective,namely,the "embodied","cultural","technical","energy" and "unity" of the body.The second level directly analyzes the movement of the body from a microscopic perspective,conducts an all-round analysis of the movement of the actor’s body in the three elements of time,space and force,explores the movement of the actor’s body on the stage in this "triad of unity",and finds that the "time,space and force" of the body have the integration,flexibility and transformation of "juxtaposition" and "intertext".The third level constructs the body theory of contemporary theater from the interdisciplinary level of physics,philosophy and psychology,and the research content of the third level complements and echoes the research content of the first level and the second level.Since the 1950s,the importance of actors’ bodies has returned to drama,and drama scholars from all over the world have carried out their own research from the aspect of actors’ body training.From this point of view,we take Grotovsky body training method,Jacques Lekor body training method,Tao Body theater body training method and Cloud Gate dance body training method as representatives to explore the value and significance of different body training systems in contemporary theater.The representation of the body in contemporary theatre is represented by three different theatre types: one is the dance theatre works of Pina Pausch and Wang Mei,who combined dance and drama in their respective countries and opened up a new way of presenting drama,breaking the theatrical boundaries of dance drama,drama,opera and musical.The second is Tian Qinxin’s drama works.His early works actively explored the body aesthetics of Eastern and Western drama,which has important research value and practical significance for the presentation of the body in Chinese contemporary theater.The third is the immersion drama introduced into China from the West,which has a new presentation and variation in China.The selection of the above three types of drama as cases not only puts the vision in the context of the exchange of Eastern and Western drama,but also bases itself on the current situation in China,hoping to make a positive exploration for the physical presentation of Chinese contemporary theater.