A Study On The Reception Of In-yer-face Theatre In China From 2004 To 2016

As an avant-garde theatre in Britain in the 1990s,in-yer-face theatre characterized by its unique violence narration,realistic theme and stage performance attracted extensive attention and aroused heated discussion among European and American literary and art circles.Its reception was influenced by the article of Sarah Kane and Her in-yer-face Theatre written by Hu Kaiqi,a professor and drama translator from Shanghai Theatre Academy which was published in Theatre Arts on 4th Issue,2004.As a result,in-yer-face theatre aroused public concern for the first time.In the following 12 years from 2005 to 2017,in-yer-face theatre put on the stage more than a hundred times in Shanghai and Beijing(theatrical classics went on tour over and over again),and every year different new in-yer-face theatres were presented on the stage.The dissertation,with in-yer-face theatre and its influence in China as the object of study,and adopting the basic method of "influence research" in comparative literature and accompanied by reception theory,empirical research and text analysis,is designed to conduct research into in-yer-face theatre's translation,criticism,performance,theatrical writing and stage practice in China.The dissertation is divided into three parts.The first part,by reading in-yer-face theatre works and relevant papers extensively,redefines in-yer-face theatre and interprets its themes related to family,society and philosophy,and expression techniques of naturalism and symbolism,and contemporary significance.In addition,this part also puts classic dramatic works written by Sarah Kane,Mark Ravenhill,Martin McDonagh and Antony Neilson in the context of 1990s to analyze in-yer-face violence,loneliness,truth and even human nature.The second part,based on the mesologie in comparative literature and through interviewing Hu Kaiqi,drama directors and other theatre researchers and collecting materials about in-yer-face theatre,is to strive to research on the reasons and process of in-yer-face theatre and its translation in a clear way.By analyzing the work 4:48 Psychosis,the article explores typical lines and translation strategies of translators in dealing with rhetorical devices(repetition),idioms and tense and sentence patterns.Meanwhile,it will be published in the form of papers in core journals,and adopts the method of literary geography to analyze Chinese literary criticism about in-yer-face theory.The third part,by combining interview data collected from directors of in-yer-face theatre,makes a systematic analysis and generalization of 4:48 Psychosis,Closer and The Pillowman with the highest frequency.This part,based on their different versions,narrative mode,director's design and stage performance,summarizes its heterogeneity characteristics of Chinese drama writing about in-yer-face theatre in stage performance and director's design.Last but not least,it focuses on in-yer-face theatre's influences on contemporary Chinese dramatic development,and argues that the reception of in-yer-face theatre provides ethical standards with modern Chinese dramas and offers modern plays impetus and reference in art and aesthetics and helps dramatists focus on individual life and spiritual salvation and morality.The reception of in-yer-face theatre in China is a typical indication that modern Chinese theatres continue to renew and reconstruct themselves in the process of their development.The spirit of in-yer-face theatre was the first choice to be accepted in China,and how far it can go is what can be researched in the future.